past workshops 2014

FEBRUARY 2014

Designing Broadsheets or Multi-Panel Pieces
Josie Brown

Saturday February 8th 2014 at Bebington.
Sunday February 9th 2014 at Lower Withington.

This workshop will investigate the principles and pitfalls, working processes and design elements involved with a large multi-text or complex piece of work.  A series of developmental small group and individual activities will take you through the design process – offering a strategy for successful planning and execution.   It’s not necessary to have an idea of subject matter for your own broadsheet for this workshop, but if you do – bring along any material, texts or illustrations you might be intending to use.

Materials
Usual calligraphy equipment including …
Sheets of layout and cartridge paper
Pen holders and nibs from size 5 to 1½, or equivalent
Pencils and a ruler
Ink or paint to write with
Scissors
Glue stick
Pencil crayons*
Carpenter’s pencil *
*only bring these if you have them, as the tutor will have some to borrow.

Read a report by Hilary Lewis on this workshop, with pictures.

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MARCH 2014

Lovely little Books
Vivien Lunniss

Saturday 8 March 2014 at Bebington.
Sunday   9 March 2014 at Lower Withington.

A selection of book structures which will also include how to plan text pages and incorporate your calligraphy into the design of the book. 
Materials
Please bring usual calligraphy kit plus Vivien’s list of materials and equipment for the December 2013 workshop and also a bone folder, decorative paper and A3 cartridge paper.

Read a report by Hilary Lewis on this workshop, with pictures.

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APRIL 2014

Fine and tiny writing
Angela Dalleywater

Saturday 12 April 2014 at Bebington.
Sunday   13 April 2014 at Lower Withington.

In this workshop you’ll learn how to use the right skills, tools and techniques to write tiny lettering well, which naturally leads to fine, crisp and sharp lettering of any size. 
Materials
Please bring your usual calligraphy equipment. In particular a selection of small nibs (edged and pointed), some good quality paper (lightweight is fine) and watercolour paint (and/or stick inks if you have them but not necessary).

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MAY 2014

Capitals from St John’s Bible
Jilly Hazeldine                         www.gillianhazeldine.co.uk

Port Sunlight:                          Saturday 10 May 2014
Lower Withington:                   Sunday   11 May 2014

Throughout the books of the St John's Bible, Donald Jackson has used variations on a manipulated Roman Capital form that is inventive, quirky and highly textural, forming dense blocks that stand well against the minuscule script that we studied at the workshop in November.
We'll look at one version, with a view to your being able to move on to others.
 Hard-at-work_May
Materials
Normal calligraphy equipment, to include decent paper (not layout) at A3 size, decent ink (Higgins is fine). You'll also need an open mind.


JUNE 2014

Writing on Gold
Mary Noble                 www.marynoble.co.uk
Port Sunlight:                          Saturday 14 June 2014
Lower Withington:                   Sunday   15 June 2014
Gold lettering is so, well, medieval… 21st century gilding is more experimental, and on this workshop reversing the tradition by laying gold first and then writing on top. There are lots of different ways but some are easier than others so we’ll try the easy ones first… No guarantees about results – depends on luck, judgement and on having the right materials. First, you put gold down, then you seem to scratch it off, but it’s a lot more instant-gratification than laying gesso.
Read a very short review, with pictures, of this workshop.

Materials

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JULY 2014

Pointed Pen Legend Part 2
David Price
Port Sunlight:                          Saturday 12 July 2014
Lower Withington:                   Sunday   13 July 2014

This pointed pen script was devised by David from his studies of the Legende typeface, created by Ernst Schneidler in 1937. The pointed pen imparts a lighter weight feel in comparison to the typeface, yet the script still retains some of the typeface's quirky characteristics.
To gain the most from this workshop prior experience with the pointed pen would be an advantage, but it is not essential.
The workshop will commence with a brief study/review of the Legende typeface and pointed pen style. Those who have already attended the first workshop may progress to work on a piece of writing/prose of their own choosing using ink or gouache (Writing in different sizes is also a possibility - using the same nib but with different pressure applied or writing with a crow quill). Beginners will concentrate on achieving a degree of proficiency with the lowercase alphabet before considering capitals and writing out a small quote.
Anyone who has not studied the script before may choose to work with a soft pencil before progressing to pointed nib and ink. However, beginners may prefer to continue working with the pencil for the entire workshop.
Materials:

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SEPTEMBER2014

Pools on Pages: exploring watercolour for calligraphers
Susan Moor
Port Sunlight:                          Saturday 13 September 2014
Lower Withington:                   Sunday   14 September 2014

(Read a review of this workshop)

In this workshop we will explore how you can use watercolours to make backgrounds and to write with.  You will discover new pigments and colour mixes, ways of creating textures and contrasts, and how best to write on and with watercolour.  We will work on pre-cut pages, eventually putting them together to create a mini reference book of colours and techniques.
Materials

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OCTOBER 2014

NWCA AGM - Saturday 11 October
11 am start at the church hall opposite our Port Sunlight venue, The Lyceum.
The meeting will be in the church hall very near The Lyceum where the Port Sunlight workshops are normally held. There is a car park outside this hall and also free on-road parking in the immediate area.
(Use the Lyceum postcode in your satnav. If you don’t notice the hall immediately, then stand with your back to the Lyceum entrance and you will see the hall opposite and slightly to the right, set back from the road.)
The business part of the AGM will take place before lunch and after lunch we are tremendously fortunate to have Celia Kilner as our guest speaker. Celia has called her talk ‘A Word in the Hand - 30 years of trying to get it right’. For those of you who are not familiar with Celia’s work, she specialises in white on white work, deep embossing and cut letters, magnificent miniatures and much more.
Charlie Perkins (Calligraphity books), Mazidur (exotic papers from Bangladesh), and Blots Pen and Ink Supplies have all confirmed that they hope to be with us.


NOVEMBER 2014

Carolingian 'with a few modern touches’ (Read a review of this workshop)
Gillian Hazeldine FSSI Mary Noble
(Jilly Hazeldine has had to cancel her workshops in November as her husband is very ill so Mary has very kindly stepped in to take these workshops).

Port Sunlight:                     Saturday 8 November 2014
Lower Withington:              Sunday   9 November 2014

Carolingian, or Caroline Minuscule gets its name from Carolus the Latin name for Charlemagne, who initiated a revival of education and learning and a revision of Church service books during his reign in Europe.

The script was developed at the scriptorium in Tours set up by Charlemagne and it is the first true minuscule, with its roots firmly in Half Uncials.

We'll study the script from the magnificent Moutier-Grandval Bible, the finest of the almost 100 bibles produced at Tours.

Materials
Usual equipment to include: ink (not Pelikan), good quality A3 cartridge paper, range of nibs, especially nos 2, 3½ and 4.

www.gillianhazeldine.co.uk

www.marynoble.co.uk

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DECEMBER 2014

Drawn Uncials
Vivien Lunniss FSSI, FCLAS

Port Sunlight:                     Saturday 6 December 2014
Lower Withington:              Sunday 7 December 2014

Read a review of this workshop here.

Based on the Uncial form with influences from The Book of Kells and the Lindisfarne Gospels, these letters are drawn rather than pen-made. Letters can overlap, share strokes or be joined together to move organically across the page. The border surrounding the lettering can follow a separate line or become part of the letters, or no border at all. The balance between the lines which form the letters and the negative space around them sometimes presents the reader with an intentional, interesting conundrum. The means of adding colour, either to the letters or the spaces will have a profound effect.

These drawn letters invite experimentation, the only criteria being proportion and balance.

Materials
'Usual calligraphy kit'
Layout paper
Good cartridge paper or hot pressed watercolour paper (smooth)
Tracing paper
Soft and hard pencils
Eraser
Fine liner pen for outlining, eg uni pin or Staedtler
Your favourite colouring-in stuff: watercolour, crayons, watercolour pencils, gouache, etc.

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