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Artwork by Sylvia Keys
– Graceful Envelope 2014 "Best in Show" by Julie Gray. For more winning entries see page 7. Above: “Best in Show”
winner of the 2014 Graceful Envelope Contest by Julie
Gray. See other winners on page 6.
IN THIS ISSUE
– Membership News– Workshop Reviews
– Postcard from Felecia– Graceful Envelope
Winning Entries– Gallery Space
– Study Opportunities– New Publication
– Meeting Information
FROM THE PRESIDENT...Welcome back to “The Guild in the Fall.” It already feels like a bit of fall during August as I write—no complaints here! I hope your summer has been a good one, too.We kick off this new season with Carrie Imai’s workshop and program. On Friday, September 26, she will present a program from “Carrie's Closet of Goodies,” a fun lecture she has given across the country to rave reviews! It begins with an A to Z slide show on creating a piece of calligraphic art, then a hands-on portion where we all get to play with new calligraphic toys and do a piece of our own. It’s sort of a design class – Reader’s Digest style.BTW, all of our workshops are available. It’s not too late to sign up. We have Carrie, Peter Thornton, also giving a program while here, and Maureen Squires. Also coming in October is a mini-workshop, our always popular one-day class, offered by Shane Perry teaching a day of basic how-to illumination. Details to follow on that mini and possibly another later in the fall.Thanks to everyone who came to our potluck party in May. What a fun evening! We enjoyed a well-attended, delicious, and loaded-with-freebies evening. Thanks, too, for your confidence in our new board; we take seriously the challenge of serving our membership. Please be in touch with any of us, with anything you may want to suggest or need to bring to our attention. We serve you!See you in September! Warmly, Pamn
s eptember 2014 b u l l e t i n
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The Bulletin of the Washington Calligraphers Guild is published eight times per year
from September - May with a special workshops issue in January.
The deadline for submissions for the October issue is September 15, 2014. We welcome your contributions. Please send digital files for text, photos and artwork (reflecting all levels, from
beginner to advanced) to [email protected]. 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.
membership newsA very warm welcome to our newest members who have recently joined/rejoined. We’re so very glad to have you! Sally Bachman – Tulsa, Oklahoma Julie P. DeCesaris – Davidsonville, Maryland Judy Dittmann – Stafford, Virginia Jon Harl – San Jose, California Debra Hart – Morgantown, West Virginia Shuyinthia Hembry – Washington, District of Columbia Paulette Kerr – Mount Ulla, North Carolina Ellen Klann – Arlington, Virginia Elizabeth Lonoff – Alexandria, Virginia Stephen Rapp – Kent, Ohio Debbie Ryon – Onancock, Virginia Ilsabe Urban – Washington, District of Columbia
Our sincere thanks to the following members who have renewed/joined at the Sustaining, Patron and Supporting levels. We truly appreciate your generosity!
sustaining Eddie Jackson – Villa Park, Illinois Jerry Jacobson – Asheville, North Carolina Jill Norvell – Reston, Virginia John F. Pfeiffer – Alexandria, Virginia
patron Abby Chapple -- Berkeley Springs, West Virginia Terry Coffey -- Charlottesville, Virginia John J. Desaulniers -- Milford, Delaware Barbara Enyeart -- Oakton, Virginia Elinor K. Kikugawa – Moraga, California Debbie Ryon -- Onancock, Virginia
supporting Ninfa A. Abad – New York, New York Barbara Beattie – Carmel, Indiana David Brookes – Richmond, California Kathleen L. Campagnolo – Silver Spring, Maryland Isabel Lynne Carnes – Tucson, Arizona Issac W. Cole – Columbia, Maryland Elizabeth Curwen – Washington, District of Columbia Julie P. DeCesaris – Davidsonville, Maryland Bonnie Kunenetz Duke – Severna Park, Maryland Susan R. Easton – Silver Spring, Maryland Framer McGee's Gallery – Bethesda, Maryland Lorraine Freeman – Darien, Illinois Vicki Ettleman Futscher – Oro Valley, Arizona Kathryn Gallanis – Fairfax, Virginia Jean O. Harron – Columbus, Georgia Elizabeth Porcher Jones – Charleston, South Carolina Tom Landon – Frederick, Maryland Jill Lichty – Mechanicsburg, Pennsylvania Dan Matsumoto – Bowie, Maryland Judy Melvin – Oakmont, Pennsylvania Jennifer Muffler – Rockville, Maryland Amy J. Plotnick – Silver Spring, Maryland Pauline "Mike" Ridgway – Williamsburg, Virginia Susan H. Robeson – Cochiti Lake, New Mexico Sally Shannon – Derwood, Maryland Janet Lynne Surrency – Alexandria, Virginia Sally Wightkin – Monroeville, Pennsylvania Roger Williams – Potomac, Maryland Gerald Williamson – San Antonio, Texas
washington calligraphers guild — board of directors —
– officers –president: Pamn Klinedinst
[email protected] / 301-654-6049
vice president: Gretchen Elson [email protected] / 703-591-5482
treasurer: Derrick C. Tabor [email protected] / 301-330-7729
secretary: Gilda Penn [email protected] / 301-315-0330
member-at-large: Tiiu Kera [email protected] / 202-547-8295
registered agent: Bob Flory [email protected] / 703-569-4331
– standing committees –audit: John Stackpole
[email protected] / 301-292-9479
budget & finance: Derrick C. Tabor [email protected] / 301-330-7729
bulletin: Lee Ann Clark [email protected] / 410-415-5846
education: can you help?
exhibits: can you help?
fundraising/calligrafest co-chairs: can you help?
librarian / archivist: Lucinda Huttlinger [email protected]
mailings: Phyllis Ingram / 703-385-9750 [email protected]
membership: Sue Flory [email protected] / 703-569-4331
nominating: appointed in January
programs: can you help?
publicity: Felecia McFail [email protected] / 703-892-6262
scholarship: Marta Legeckis [email protected] / 301-493-8907
scripsit liaison: can you help?
website: Lorraine Swerdloff [email protected] / 202-723-4635
workshops: Christine Tischer [email protected] / 301-745-4633
Lee Ann's contagious enthusiasm for pointed pen letters is
evident in the amazing array of social stationery, invitations, menu, logos
and broadsides displayed in the many portfolios she brought. There was a
generous packet of handouts with clear models to copy as well as many samples
to inspire students to keep practicing what we learned long after the workshop
ended. She gave numerous demonstrations starting with basic recommendations on
posture and how to hold the pen, leaning on the left arm and leaving the right hand
free to move the pen easily without too much pressure. Her instructions were
simple and easy to follow. With the help of grid pads, we practiced familiar script
alphabets and then moved on to loose, less familiar strokes with large loops and fresh,
unconventional flourishes. We also wrote in different sizes from tiny to very large and on a variety of papers from smooth
to textured. The key to fluid writing was using an extremely flexible nib, such as the Brause EF66. The nib was put into
an oblique holder but not pushed too far down into the holder – it must remain
springy. A number of other pointed pens and holders were available for students to
try out. The very loose writing Lee Ann showed us was easier to do with very
watery ink – walnut ink was Lee Ann's preferred medium – instead of the thicker Sumi which is often preferred for finished
work. We also worked with white and colored gouache and other inks.
A highlight of the workshop was watching Lee Ann execute her beautiful letters which looked so loose and free they seemed to be flying across the paper,
– Workshop creation by Mary Lou O'Brianbut are actually carefully and deliberately drawn. She
brought her laptop and showed us how she would complete invitation designs by scanning her pen-written lines, reducing
and aligning the pen-lettered words with Photoshop to complete a design. She created a file for each line so she could
make changes without redoing the whole piece. It was very interesting for someone not technically savvy to watch this
process in producing printer-ready copy.This two-day workop was both fun and practical. It was
very satisfying to learn the potential of the pointed pen. This reviewer got much more comfortable writing with the EF66
pen, which was a huge help in work she had to do soon after the workshop. This workshop was aptly named Pointed Pen Progressions because it did indeed stretch us all and it was totally fun doing it.Lee Ann is a terrific artist/calligrapher as well as a skilled teacher, and she brings her farm-fresh organic eggs so you cannot possibly go home empty-handed!
– Sandy Olson
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Pointed PenProgressionsa workshop with lee ann clark
may 13-14 • columbia arts center
The “Exploring Negative Space” workshop opened our eyes and sensibilities to ALL of the space in and around the letters on the page. We
were encouraged to use an expressive form of writing and work quickly to write a short text. We then traced the letters onto a fresh sheet of
paper and created a “frame” that would contain the text. We were now to paint all of the counter
spaces, leaving the letters white. Marina works this way, rather than using masking fluid, because
she is able to add value and gradations of color and interest by painting each counter separately.
Changes in the forms can also be made, if they are needed. My example (near right) shows these two
steps. I wrote the capitals with watercolor using a folded pen and used watercolor to paint the negative space using a #2 pointed sable brush.
The next step was to trace and paint only thenegative space that defines the frame. These spaces
are on the outside leaving very interesting space in the center. Then we traced and painted only the
interior negative spaces, which furtherabstracted the design.
My small book (top right) shows three steps of this exercise writing “No day without a line.”
The left panel is a portion of painting all of the negative space, the center is the quote written with
a Speedball B nib. The right side shows the page of painting only the interior negative spaces.
I gained much insight into working with the space around the images. Marina’s many demonstrations
of painting with watercolor enriched our experience and gave us many techniques to take
forward as we continue to work with negative space in our calligraphy. Cheers,
Carol DuBosch
Marina Soriatwo classes with
I have just finished four days of study with Marina Soria who traveled from Argentina to Oregon to teach “Calligraphy in Blossom” and
“Exploring Negative Space.” In the “Calligraphy in Blossom” workshop, Marina successfully guided us through the steps to create abstract scripts and assemble the letters artfully to create several books with our writing and texts. Marina is
masterful with watercolors and Asian brushes, and helped us all gain confidencewith these expressive tools.
The photo composite (bottom right) shows the script that I developed,using marks I had made with the Asian brush while painting an ikebana
arrangement several times. Each chance to paint the ikebana was timed, and the times were shorter as we progressed. Our last painting was extremely gestural
in just 15 seconds. We then chose “d” forms from all of our paintingsand selected one with which to build a script.
We created the letters using the visual information our selected “d” form offered. We continued to work with our script to write a short text that could be folded to
create a concertina book (center right). Many examples of Marina’s work, along with excellent instruction inspired us all to successfully create a piece with our
newly-made letters. I’ve always found it difficult to break through all the formal calligraphy rules and work in the realm of
abstract and expressive lettering. The exercises in this class gave me a clear method to be able to
work in new directions.
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Hello Guild Family,
I truly hope everyone had a sensational summer.This summer my college friends and I traveled to New Orleans to reminisce about old times and to enjoy each other in the present.
Since it was my first time in New Orleans, I was astounded that the city was filled with culture, music and history.
While strolling through the French Market I stumbled across a
couple pen vendors. The first one had everything from pencils to pens to notebooks and everything in between. The second vendor specialized in inkwells, which has become one of my weaknesses!
Since the city’s symbol is the fleur-de-lis, I began searching the table for an inkwell with the popular emblem on it. While
browsing the table a gentlemen informed me that he was sold out, but graciously told me I could stop by his store to purchase
one. He offered me a business card and to my surprise it was from Papier Plume, one of my absolute favorite vendors from the shows in McLean. After finding out where the store was
located, I grabbed my best friend and we wereoff to Papier Plume.
When we arrived, the staff greeted us and I introduced myself. I quickly informed Patrick I was from Virginia and had visited
his table several times at the art shows here. Instantly, our faces lit up with excitement because that’s what hand-lettering people do. After conversing for a while, I purchased my fleur-
de-lis inkwell and left knowing I had made a new friend.
As we all know handwriting is our connection to calligraphy, and this trip made me realize it even more. I know now that whenever I am in a different state, I will be on a quest to find my lettering family and I hope you will do the same. If there is one
thing I know, we must support each other in our crusade to keep calligraphy and hand-lettering…ALIVE!
Felecia Brice McFail
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what i did on my summer vacation
barry morentz workshop
Some of the beautiful artworks created in the Guild's April workshop, “Monogram Design.”
– photos by Anne Trotter
2014 contest winners include (from top) Carol DuBosch, Jeri Hobart and Catherine Langsdorf.
The envelope named “Best in Show” by Julie Gray is shown on page one.
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graceful envelope winners
This summer the Washington
Calligraphers Guild proudly announced the
winners of the 2014 Graceful Envelope
Contest. The theme, "The Superlative
Letter S," challenged calligraphers to symbolize some
sentiment starting with the letter S. WCG and
the National Association of Letter Carriers
co-sponsor the annual competition, which
attracts entries from around the world and from students in three
grade categories.
WCG members Pat Blair (White House chief calligrapher) and Rose Folsom (former Letter
Arts Review editor) donated their time and talent to serve as judges along with NALC graphic
designer Mike Shea. They chose winners based on artistic hand lettering, creative interpretation of the theme and effective use of color and design,
including incorporation of postage stamp(s).
View the winning envelopes on our website www.calligraphersguild.org or in the NALC lobby near
the Capitol.
Clockwise from top left: “Gathas” by Sally Wightkin; “Lionheart” by Stephanie Fishwick; “Space” by Ann Bain; “Words” by Michael Clark
gallery space
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— directions to guild meetings — Concord-St. Andrews Church
5910 Goldsboro RoadBethesda, Maryland 20817-6034
Concord-St. Andrews Church sits on a hill at the intersection of River Road and Goldsboro Road
in Bethesda, Maryland. Take the Beltway to River Road (exit 39 towards Washington). Turn left
onto Goldsboro Road. The driveway to the church property is almost immediately to the right. Enter the Social Hall through the first door on the left
side of the church. Board meetings are held in the Chapel on the main level of the church.
september meeting "Carrie's Closet of Goodies"
with carrie imaifriday, september 26
7:00 p.m.
notes of interest
Dasherie Magazine www.dasheriemag.com is a new, independently printed magazine featuring the beautiful calligraphy of many talented contemporary artists from around the globe. Dasherie provides inspiration for artists and is a fabulous reference for brides and other event planners looking for exceptional original calligraphy invitations, ideas and products. Dasherie is a 100 page, 4-color, perfect-bound publication filled with high quality images of some of the finest calligraphy offered. It is published, edited and designed by Erica McPhee of Paperwhite Studio in North Port, Florida.
-The Abbey Studio is offering a variety of classes this fall including Calligraphic Arts - Level I, Copperplate Script and Versal Caps and Gilding at various Massachusetts locations as well as several opportunities for study abroad. Contact the studio via their website at http://www.theabbeystudio.com or by phone at 781.740.9000.
p.o. box 3688, merrifield, va 22116 • www.calligraphersguild.org
address service requested 9 / 2014
nonprofit org.u.s. postage
paidmerrifield vapermit no. 742
