Warmland Calligraphers

Newsletter Team

Newsletter Issue #64 June 2016 Regular monthly meetings are held on the Second Tuesday of each month from 9am to 12:00pm (no meeting in July and August) Mellor Hall Meeting Room, Exhibition Grounds Duncan, BC (Exceptions are December and June)

Editor

Barbara Qualley

Proofreader

Eleanor Harris

Cover Artist

Judy Lowood

Executive Meetings

Inside this issue

are held on the First Tuesday of each month at Linda Yaychuk’s home from 9am to noon All members are welcome!

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General Guild Information

is held on the Fourth Tuesday of each month from 9am to 12pm Scouts Hall, Exhibition Grounds Duncan, BC

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President’s Message Cover Artist

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Embossing with Denise Rothney

Annual Membership in Warmland Calligraphers includes three online newsletters. Dues are C$30 for Canadian residents and US$30 for US/Int’l.

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February Galleria - Butterfly by Mike Yip

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February & March Meeting Programme

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April & May Meeting Programme

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March Galleria - Create a Poster

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Stand Up & Show Off - Cherryl Moote

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18th Annual Loft Exhibition

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April Galleria - Echo Lettering

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David and Goliath - Yves Leterme

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May Galleria—Concept of Threes

Playtime

Warmland Calligraphers of the Cowichan Valley (the Guild) is a non-profit group formed to facilitate the exchange of information between calligraphers, and to promote interest in and appreciation of calligraphy as an art form within the community. Membership is open to calligraphers at all levels of expertise as well as those with a love of beautiful writing.

Contents of this newsletter are copyrighted by the authors/artists.

Requests for permission to reprint any part must be made through the Editor. The views of contributors are not necessarily those of the Editor or of the Guild.

Members are invited to submit concise pieces for publication as well as to alert the Editor to conferences, papers, speeches and other matters of interest to our readers.

The Editor reserves the right to make editorial changes in material accepted for publication. These include such revisions or additions deemed necessary to ensure correctness of grammar and spelling, clarification of obscurities, brevity and conformity to the newsletter style.

Contact us at:

P.O. Box 2, Duncan, B C, V9L 3X1 Canada http://members.shaw.ca/warmlandcalligraphers

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President’s Message I am honored and thrilled to be your President for the next two years, mostly because I get to work with an incredible, enthusiastic and talented group of people who make up the executive of Warmland Calligraphers.

Much has been accomplished since the inception of the Guild and under the capable leadership of many, it is still evolving into ever bigger and better endeavors.

First of all, I would like to thank Joyce Gammie for her many years of dedication to leadership on the executive, and Lucy Hylkema, who is now our Past President. Denise Rothney, who has spent several years organizing the monthly programmes, has moved to the position of First Vice President. She will oversee our exhibitions and will recruit new members to the executive as positions come open.

Pat Wheatley, our dedicated librarian has moved to the position of Second Vice President and is in charge of programming and I would like to welcome David Carter, our new librarian.

I would be remiss if I did not mention the long-standing and amazing people that make up the rest of the executive.

Betty Locke is our rock, who tirelessly gives of her time bringing in high calibre instructors from all over North America and Europe, and Marilyn Boechler, her side-kick, who diligently does the math and makes

sure that there is enough money to cover the instructor’s time and everything that is involved in bringing them here. Eleanor Harris, our treasurer, is a treasure doing her job. Barbara Qualley, our webmaster and newsletter editor is so proficient and capable dealing with the techie side of things and is always there to help those who are less technologically inclined. To Ruth Rutledge and Leslie Healy, our secretaries, thank you for taking notes and making sure they get to print and Jane Taylor, who looks after membership. A heartfelt THANK YOU to you all.

There are others who deserve recognition for all their hard work that makes our Guild so wonderful and welcoming. I am just going to mention their names as their job description would make this message too long. Thank you to Marilyn Lundstrom, Lucy Hylkema, Charlotte Whiteley, Linda Yaychuk, Pat Wheatley, Debbie Craig, Carolynn Dallaire and Linda Lax. As I mentioned before, our Guild is ever evolving into new ventures. This year, we have started a mentorship programme to help two members attend conferences. June Maffin is the first recipient and we hope to make awards to other members in April 2017. We also are planning to exhibit at Portals of the Cowichan Valley Arts

Council in the Spring of 2018. This November, we are hosting a table at “Deck The Hall” Christmas market at the Cowichan Exhibition where several members will be selling their calligraphic art. Also Barbara Qualley has written a blog about our Guild for “Paper and Ink Arts”.

Last, but not least, I would like to mention some of the wonderful instructors and workshops we have had in the past year: Lorraine Douglas – “David Jones Lettering”, Heather Victoria Held – “Flourishes”, Amity Parks – “Graphite Arts and Drawing”, Cherryl Moote –“ Folded Books”, Yves Leterme – “David and Goliath” and Harvest Crittenden – “All That Glitters”.

Betty Locke, Mary Nelson, June Maffin and Marilyn Lundstrom also have been busily instructing at local venues such as Elder College and the public library.

Looking at all the participation and accomplishments of the past year, you can see how excited and proud I am of serving as your President for the next two years and I hope to serve you well.

- Ria Lewis

Front Cover Artist - Judy Lowood My idea for this cover was inspired by Lisa Engelbrecht and her colourful, calligraphic backgrounds.

Using words of inspiration, I covered the paper using many different hands.

I masked out the words I wanted to remain negative and in a light colour.

I have never liked using masking fluid as it never seems to work out well and I'm not happy with this result either.

(Maybe a lesson on using masking fluid would be good!)

I then put on many layers of colours,

making sure I dried each layer as I went along.

After I finished, I decided the piece needed to be ‘grounded’, so I put painters tape across the paper, pressed it down well and added some mountains. I used a bluish colour and afterwards I wished that I had made it greener.

A while later, I removed the tape and found that the paint had seeped underneath. OH NO! What to do now?

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I tried wetting it and rubbing with a stiff brush but that didn’t work. Then using a tiny brush and some of my blue paint I made ripples in the water along the edge where the paint had run and carried the ripples down the page.

The last thing was lettering ‘Warmland Calligraphers Newsletter’ and signing it.

- Judy Lowood

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Embossing Workshop with Denise Rothney This delicate monogram ‘chop’ could be used to sign your calligraphy or greeting cards.

- Judy Lowood

We spent an enjoyable day learning the intricacies of embossing and debossing our original designs on paper.

An embossed design is raised on the paper; a debossed design is lowered.

Judi

well Hope

debossed

embossed

The most important rule is ALWAYS work from the back of the paper. It is wise to mark this at the beginning of your project.

These techniques are subtle and may be used to frame your work, create a border, become a feature/focal point and are created from lines, drawings or, in our case, calligraphic letters.

The designs are best created on white or cream paper as dark colours don’t allow natural light shadows to play on the edges to make your design visible.

Denise showed us a large piece she did with a very complicated crow as the focal point, surrounded by a border of crows in fight. Unless you had sophisticated gallery lighting, the whole effect was lost. Certainly a consideration before embarking on such a project.

When creating a letter, such as a “B”, you want to save the inside and outside cuts. These pieces get glued to a thinner sheet of paper to create the “B”. Remember, you are working on the back of the paper, so don’t forget to flip/reverse the letter(s) so they read correctly.

Was your design delicate and it tore?

No worries, just tape front and back of area and proceed as usual. Phew!

The tape is thin enough that you don’t need to cut around it. Proceed like it isn’t there.

Usually, you would first put your lettering on the paper and add your embossing last. A light box is your friend.

- Barbara Qualley

While stencilling tools are available in craft aisles of many stores, you can use dry ballpoint pens, sharpened chop sticks, orangewood/ cuticle sticks etc.

Just make sure that the point is not sharp, but rounded.

When working on 140 lb. paper, it is best to use a thicker tool. Your goal is a clear, sharp edge.

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K by Judy Lowood

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Laura Eriksson

Hexagon by Denise Rothney

Barbara Qualley

Gingko by Judi Hopewell

Heron by Denise Rothney

Carolynn Dallaire made pleasing designs by stacking circles and squares.

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February Galleria - Butterfly Quote -

emphasis on layout, letterform and focal point

This quote was used with permission of Mike Yip, with thanks.

David Carter

Marilyn Boechler

Linda Lax

Pat Wheatley

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Ria Lewis

Marilyn Lundstrom

Joyce Gammie

Betty Locke

Judi Hopewell

Charlotte Whiteley

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Marilyn Lundstrom

Marion Craig

Anne Atkinson

Laureen Woodruff

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Judy Lowood

Leslie Healy

Barbara Qualley Denise Rothney

Jane Taylor

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Mieke van der Vliet

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February Meeting Programme - Posters When designing a poster there are five points to consider: lettering, colour, graphics, balance and focal point.

The importance of the information can be determined by the size of the lettering.

Use colour to create mood, energy or attract the eye.

Use 2/3 of the space for lettering and graphics and 1/3 unfilled to balance and rest the eye.

- attract his eye with innovative use of graphics, space, colour or significant words

The focal point is the starting point for the eye which should then be lead around the page.

- incite his interest and make him hungry for details

You want the observer to:

If your poster has managed to do this, you have a good one.

- Linda Yaychuk

Graphics should be bold and simple and depend on the availability of space.

- get the message quickly - get it concisely

March Meeting Programme - Echo Lettering Marilyn Boechler presented some pieces to demonstrate the final look of the writing.

The following are helpful hints that the presenters provided for us: - you may start the first line with part of the word or phrase - start with the lightest colour - keep colours subtle

The March programme on Echo Writing/Lettering was prepared and presented by Marilyn Boechler, Joyce Gammie and Marilyn Lundstrom.

Echo Writing is the process of layering a word or phrase from larger to smaller and darker to lighter.

- darken the colour by adding a complementary colour rather than black - on the second line go for the white spaces of the first line - don’t cover a stroke from the line above (go beside or across) - each layer should be lower with the

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tops of the previous layer showing - you may end with a sentence, Haiku or poem The presentation was excellent and prepared us well for producing our pieces for the April Galleria.

- Linda Yaychuk

April Meeting Programme - Performance Art / Calligraffiti Betty Locke introduced a DVD of performance calligrapher, Loredana Zega, whom she had seen performing at a recent conference.

calligraphy on huge urban outdoor spaces such as rooftops and walls. eL Seed

activities were works of great beauty produced without following the rules of classical calligraphy.

Niels ‘Shoe’ Meulman

Google the names of the above artists to see further demonstrations of their talents.

- Margaret Kells Pokras Lampas Loredana Zega

Lucy Hylkema introduced videos of Seb Lester, Pokras Lampas, eL Seed, Niels ‘Shoe’ Meulman, Simon Silaidis, and Luca Barcellona.

Calligraffiti is the art of

The examples of calligraphy shown were executed with extraordinary freedom, using full body movements and tools such as large brooms, huge paint brushes, paint rollers and cans of spray paint.

The end results of these

Simon Silaidis

May Meeting Programme - Card making The programme was presented by Alane Lalonde, Ruth Rutledge, Marilyn Boechler and Linda Yaychuk all of whom had taken Cherryl Moote’s recent workshop.

Four stations were set up where each person demonstrated how to make one of four cards.

Marilyn demonstrated making an Exploding Card which is also made with a series of folds but on a rectangular piece of paper. When the card is opened the inside appears to jump out.

Ruth demonstrated the Gate Card which when folded and cut, two sides open like a gate.

At the end of the program each member had created a template for four different cards to take home and use to create their own masterpieces.

- Linda Yaychuk

Denise Rothney

Alane showed how to make a Pyramid Card which is done by making a number of folds in a square piece of paper.

When finished the card looks like a pyramid.

The Step Card was presented by Linda. It is created by a series of folds and cuts. When opened the inside reveals accordion folds with protruding steps.

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March Galleria - Create a Poster

Betty Locke

Judi Hopewell

Margaret

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Kells

Marilyn Lundstrom Ruth Rutledge

Laureen

Joyce Gammie

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Woodruff

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Linda Lax

June McDonald

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Pat Wheatley

Linda Yaychuk

Marion Craig Judy Lowood

Charlotte Whiteley Marilyn Boechler

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Stand Up and Show Off with Cherryl Moote Cherryl turned Magical cards into Doable cards! I now have a wide range of birthday, anniversary etc cards that I can do that will look mostly Fabulous!

I was amazed at the number of different cards Cherryl demonstrated. I found that her sense of humour added to the enjoyment of the experience.

Linda Yaychuk

Aha Moment....how to measure any piece of paper into equal sections!

Handouts well detailed. Great to have paper for ‘mock-ups’ ready for us!

Ruth Rutledge

It was a fun refresher class of origami and Gelli printing techniques that I'll continue using in bookmaking, cardmaking and gift-giving.

June Maffin Linda Yaychuk

Folding has become more than just placing a letter in an envelope.

Pauline Thompson

Fun time! Loved the quick instruction on the Gelli printing.

Measuring tips: • When ruling a straight line, put 3 dots for better accuracy.

• How to measure a sheet into any equal-sized areas.

Barbara Qualley Holly Bowen

I had fun and enjoyed the course. I have actually made a birthday card for my brother’s 65th using her ideas. I plan to make all my cards going forward. My on-going education regarding various types of paper also grew.

June MacDonald

Linda Yaychuk

I didn’t really have an 'aha' moment, but I very much enjoyed the class and the group. It was challenging enough (those folds) that I wasn't bored, in fact a sublime happiness settled over me as I created with beautiful materials and in peace.

There was lots there that I can use along with other art forms, and I look forward to taking them to the next level..

Jerryann Haggart Ruth Rutledge

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Denise Rothney

The cards Cheryl taught us were easy to make and very impressive to look at! I thought of all sorts of ways to adorn these marvellous twists of paper. The pyramid card was my favourite and I have already made one to give as a birthday card.

Denise Rothney

I had not done the Gelli printing technique. Not being an artist who can draw items to go with Calligraphy, I know I could do this technique to liven up the background for a calligraphy piece.

Since Cherryl Moote's workshop I am totally hooked on the origami aspect of the card making. She has unleashed the crazy card making monster that apparently inhabits me! My dining room table is covered in card stock, scissors, glue, bone folders, pens and pencil crayons. Soon I will experiment with that Gelli print thing she taught us. YIKES!!!

Thanks for the inspiration!

Linda Lax

Trish Peebles

Irene McGeary

Cherryl’s class was a happy, easy, you-can-do kind of class...it sparked creativity, something which often gets lost in the rush of things...now to actually make more!

Who would have believed that such simple advice as measuring off 3 times rather than 2 to make a straight lines parallel would be so important? The "aha" moments when I finally got the more complex folding sequences was very gratifying.

Now to put the many fantastic ideas to practical use in my card making endeavours.

Marilyn Boechler

Lorraine Hoy

I really enjoyed Cherryl's workshop.

After her many years of doing this, her creativity & passion for what she does is so evident. I love the way she gets so excited about new ideas. She obviously loves what she does and it shows. It made me more aware of the possibilities of what you can do with folding paper and it was fun to Gelli print our own paper.

Alane Lalonde

Cherryl Moote

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18th Annual Loft Exhibition and Sale This year’s show resulted in four sales, listed below, and this is where we became baffled by the ‘B’s. A bit of bewilderment began as Barbara and Betty’s ‘B’s befuddled both the Gallery owner and us. Which ‘B’ was bought and were they both where they belonged. It was all sorted out soon enough and confirmed the need for good paper work.

Thank you to Carolynn Dallaire, who once again provided the vision for the group of six who put up the 18th Annual Loft Show at the Valley Vines To Wines in Mill Bay on February 2, 2016. Irene McGeary, Linda Lax, June MacDonald, Margaret Kells and I enjoyed the challenge of displaying the 64 pieces. Thanks also to the 21 Guild participants who provided their work for the show.

The Loft Gallery Show and Sale is the result of many people providing their time and effort. This year David Carter created the poster. He assured us that he enjoyed the work and learned a great deal through the process. He actually submitted three different designs which would all have been worthy. In the end the decision was left to the Guild Board to make. Barbara Qualley is integral to the success and does all the advertising, updates all the forms and sends out all the notices. She also has the history and provided valuable information on many aspects. Eleanor Harris received all the pieces, checked the paperwork and provided the names to Betty Locke. Betty and her husband, Duncan, created the cards with the artist’s name and price.

June MacDonald received 17 + 2 (delivered late) decorated envelopes, which were exhibited on 2 large boards. It’s always amazing to see how clever people can be when addressing an envelope. One of them came all the way from Las Vegas.

Start looking for stamps now!

The pieces were grouped a few different ways on the floor and then some sense of organization began to evolve as they were moved to the walls. After a few tweaks of “up a bit, over a bit, this over here, that over there” it all worked out well and we stood back satisfied.

What we failed to notice was the missing Guild banner, which was still in its tube, carefully sitting on a shelf downstairs. I soon got the call and hustled down to hang it over the bannister where it rightfully belongs.

On coming up the stairs I had a ‘first impression’ of the show and was quite impressed with how it looked and felt.

It’s a good reminder to leave your work for a bit and return later to see it with fresh eyes.

Carolynn Dallaire

Except for the ‘B’ business the take down went smoothly. Thanks to each member who came early to pick up their piece, and to Trish Peebles, Jim Wisnia, Margaret Kells and Ruth Rutledge for their assistance.

Remember that it’s never to soon to begin planning your piece for the next Loft Gallery Show and Sale. I hope to be hanging your artwork next year.

These four pieces were sold.

Betty Locke

- Debbie Craig

We had a good variety of pieces to work with, from very large ones to very small and everything in between.

Barbara Qualley Betty Locke

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April Galleria - Echo Lettering

Marilyn Lundstrom Pat Wheatley

Ruth Rutledge

Gail Robb

Judy Lowood

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Charlotte Whiteley

Marion Craig

Marilyn Boechler Joyce Gammie

Judi Hopewell

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Anne Atkinson

Linda Lax Mieke van der Vliet

Linda Yaychuk

Betty Locke

Lucy Hylkema

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David and Goliath - A workshop with Yves Leterme It has been a terrific class with both frustration and triumph (and so it should be). So many new tools, styles to work with. I discovered what to do with the Chinese brush set my daughter had gifted to me. Hallelujah!

Yves, above all, gave me permission to experiment and ignore the rules, something I have (secretly) aspired to.

With thanks to Ria Lewis for photos

Ria Lewis Lucy Hylkema

I fell in love again with my C5 Speedball nib. We got so much out of that nib when we worked smaller and smaller. I also enjoyed using my “dental loop” for magnification of my work.

Betty Locke

Yves reinforces the need to "think before ink". It was beneficial hearing his thinking as he was putting his gestural letters together. Such things as varying the size of the next letter, slight angle change, very subtle bounce between some letters. His gentle voice will be in my mind as I try to free up my letter formations.

unknown

Marilyn Boechler

The value of any course is in the seed that is planted – not so much in what is accomplished in two days. My love of words is why I do calligraphy and the workshop provided much food for thought and I really like the David and Goliath concept. For me it was very successful.

Mainly, the workshop taught me two things - that I don’t practice and experiment nearly enough, and to slow down!! I appreciated particularly that Yves spent time evaluating the individual and did so at that person’s level of ability.

Pat Wheatley

The importance of letterforms was stressed, especially the Roman Caps. I enjoyed the technique with the carbon pencil and the manner in which to add the shading.

Alice Young

Marg Kells

Ida Marie Threadkell

I am so glad I took Yves class because it has 'freed up' my calligraphy. He does not stress legibility but I do, and it was interesting to see how my more formal italic loosened up after playing around with the idea of gestural writing.

Judy Lowood

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Gillian Mouat

A challenging course, new techniques – I learned lots, and enjoyed the experience very much. Yves is an excellent teacher.

The big (somewhat harsh) thing that I took away from the class was to practice. Then in 25 years I might be a good calligrapher.

One of the things I learnt from Yves Leterme was Gesteral Lettering.

When doing this you need to think about each letter and how you are forming it or it will look too tidy.

Never cross 2 thin lines or 2 thick lines. Always have a thick crossing a thin or visa versa.

The contrasts in scripts, especially gestural and the use of many different papers, inks, paints and papers made this most interesting and a challenge to use in our work.

My 21 year old daughter loves what I did in his class, and I think his style connects well with younger people.

Lucy Hylkema

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Ria Lewis

marks with black ink on a large sheet of paper. Using matting elbows, they would find a pleasing section and cut that out.... place it on another paper and work small around it. The results were very dramatic.

David and GOLIATH A Calligraphy Workshop on Contrast in Size

On April 13 and 14, 2016, a number of Warmland Calligraphers spent an enjoyable time with Yves Leterme learning different ways to bring contrast to our calligraphic pieces. We looked at colour, weight, spacing, letterforms, balance and many other design points. As we worked with large and small letters, Yves impressed on us that BIG doesn't mean overpowering and small doesn't mean neglectable. This was my favourite piece of advice during the class.

I was delighted to learn that Yves LOVES working with Speedball pens. After some time I felt quite comfortable using C3 and C4 nibs and even C5 and C6. On the first day we work with a C3 and C5 quite a bit..... taking a word.... writing it properly...

5 pen widths high or 1 cm. The fun began when we reduced the height of the letters to four, three and two pen widths. We did this with both lower and upper case letters. Yves then outlined four projects with small letters for us to try. My favourite was making a very large letter 'B' with a large pointed brush and watercolour. In the negative space, I wrote a quote that started with the 'B' using a C5 pen, gouache and capitals.

We could write three or four large words in a list, overlapping the words...... then write a quote quite small over the overlap. A third project was to write a quote in two languages..... the quote could be written

I enjoyed using watercolour and my large pointed brush to make a large word.... overlapping the letters. I placed a piece of art tape on my page and had the letters of the word overlap onto it. When the tape was removed, I could write a quote underneath the large word with small letters using my C5 nib and gouache. It's very different to work very large and very small close together. Quite a dramatic look and texture, I think.

Another project was to write a quote three times around a shape... like a square or rectangle. The letters were to be the same height each time, but a different nib was to be used. I used a C2, C3, and C4. Quite a nice textured piece results.

There were other projects to try. We were encouraged to let our imaginations go wild. Yves also touched on Gestural letters and writing and well as pointed brush lettering. Both incorporate freedoms and looseness.... and could be topics for more classes on their own. in large letters with the translation in small letters.... or visa versa. A fourth project was to design a birthday card using contrast and using the name in an original way.

On our second day, Yves had us working very large. We began with a C5 nib making letters with the base height of 2 cm. He called this upsizing. It was fun to work with these letters and compress them creating quite lovely light textures. With oversized capitals we worked on keeping these large letters light by weighting them in certain areas. We often switched to pencil so that we understood how to weight the letters in a pleasing way.

Yves closed this wonderful two-day class with a discussion on layout using large and small lettering. He had given us a number of examples from other people's work in our handouts which intrigued, empowered and encouraged us to continue experimenting with contrasts in our work.

- Carolynn Dallaire

After a number of exercises, Yves gave us some projects to work on. Many students enjoyed making JUNE 2016

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Lucy Hylkema

Let your writing arm move with your lettering so that you can get speed and "polyrhythm" with your words. Move your paper as well. Don't sit rigidly holding your arm and clenching your pen, making each letter slowly. Allow your hand and arm to move freely, making the letters with speed & grace.

Anne Seymour

unknown

My aha moment was when I realized I could do italic two millimetres high!

Leslie Healy

Ruth Rutledge

Betty Locke

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May Galleria - Concept of Threes

Debbie Craig

Linda Yaychuk

Ruth Rutledge

Ida Marie Threadkell

Jeanette Rawek

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Margaret Kells

Judi Hopewell

Laureen Woodruff Marilyn Boechler

Carolynn Dallaire David Carter

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Betty Locke

Miriam Beechey

Pat Wheatley

Marion Craig

Judy Lowood

Ria Lewis

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