Please note: This workshop will take place online. Take a look at our Zoom Guidelines well in advance of the program if you need to become familiar with this platform.
This workshop will take place on 2 consecutive Saturdays; April 17 and April 24 from 11AM - 3:00PM both days. There will be a short break each day at around 1PM. During the week in between, the instructor will be available for feedback and Q&A.
Please be sure you can attend BOTH sessions before reserving your spot.
REGISTRATION FOR MEMBERS IS NOW OPEN! Reserve your spot HERE. Purchasing your spot may look a little different than in the past - but just follow the prompts and you should be good to go. You can pay with a credit card OR use PayPal. If you have any questions at all, please email webmaster@colleaguesofcalligraphy.com.
Once you have purchased your spot you will receive links to attend on the Zoom platform.
Thank you to Erin Dung for her original contributions to this calendar item when we had this workshop scheduled for early 2020. We have edited and updated it here to reflect changes in format. Any errors or inconsistencies belong to the webmaster.
“What It Means” Ornette Coleman quote, written by calligrapher Carl Rohrs
Calligraphic Typefaces You Can Eat with Pen or Brush
Calligraphy, of course, has always been an important inspiration for type design. Now, we will turn that around by examining dozens of 20th Century European calligraphic typefaces and use them as the starting points for our handmade lettering.
By doing this, three important but different skills will be strengthened:
First, you'll get a crash introduction to some of the most innovative type designers from the 20th century and an appreciation for the construction of some of their greatest faces.
Secondly, attempting to reproduce these letters by hand will increase your calligraphic dexterity, sharpening hand, eye and mind.
Last, using them as inspiration for new looking letters fosters interpretive ingenuity, and will lead each of you to designing your own unique letter styles.
Birthday written by calligrapher Carl Rohrs
The workshop will also cover modern pen and brush techniques and handling, with the unusual approach of using the unique letter forms of different artists as our models.
We will cover obvious classics like Legende, Neuland, Post Antiqua and Hammer’s Uncials, as well the more obscure and eccentric like Georg Trump’s five wonderfully different calligraphic script faces, Oldrich Menhart’s Romans and Uncial, and original letter design by Zapf, Excoffon, Reiner, Lange, Hoefer and many more.
The thick, bound workbook provided for registrants will include about 100 typefaces, some of their origins, plus many modern interpretations. Whether you aspire to become a fabulous calligrapher, want to enhance your drawn-letter work, or become more familiar with these innovative, inspiring artists and their work; gaining these resources will dramatically expand your repertoire.
Materials List
Pen: You will need a pen that is on the larger size. Choose from the three options listed below:
Carl’s favorite is the 5/16” Horizon Flat Pen. The 1/4” or 3/8” is also fine (from PaperInkArts.com), or similar Coit or Hiro, no bigger than 3/8”
Or, a similar sized Automatic pen. Carl doesn’t like these nearly as much as Horizons, but if you’re comfortable with them, it will work just fine; we’ll discuss their differences.
Or, a Pilot Parallel Pen, 6mm size (blue cap). This is okay too, but be sure to have a bottle of ink to dip into (not enough ink comes through the parallel pen for what we want to do).
Plus, bring any other favorite pens you already have.
You can get through the workshop with only a pen, if you wish. If you’re interested in brush-work, please bring the following.
Flat Brush: Choose from the three options listed below:
Winsor & Newton 995, 1/2” (clear handle)
Or, Winsor & Newton Cotman 666, 3/8” (blue handle)
Or, Raphael Kaerell, size 6, 8, or 10 (orange handle)
Plus, any other flat brushes you already have.
(We will be concentrating on flat tools mostly, but there are traditional types based on the pointed brush, as well. If this interests you, bring a Pentel Color Brush, or similar.)
1-2 tubes of gouache for brush work: Winsor & Newton Indigo or Prussian Blue are strong colors. Bring white or bright colors and/or a jar of Pro-White or Dr. Martin’s Bleedproof White, if you want to write in reverse (and bring some dark papers, too).
Non-waterproof ink: Higgins Eternal, Higgins Sepia, walnut ink, Private Reserve, Noodler’s, anything like that. Look out for the words “Indian,” “permanent,” even “Sumi”; they clog the slits of folded flat pens.
Paper: Large paper (11”x17” or larger) bond is fine for pens, or something with a bit of tooth.
Diploma Parchment is Carl’s favorite at the moment.
Carl likes Strathmore Charcoal Pads for pen, flat brush and pointed brush, but not Canson’s charcoal pads: as pen work will bleed on them.
Plus, bring any fancier papers as desired (Canson Ingres, Mi Tientes, Bugra, or watercolor.)
A pencil
A ruler
Carl always provides a lovely booklet containing amazing examples of his work and others’ work that are an inspiration to his courses. This will be provided as a PDF for each participant to download and print. Carl will be available between Saturdays for individual feedback (to be discussed at first workshop). Number of participants will be limited in order to provide quality feedback.
Cost: $145 for members.
REGISTRATION FOR MEMBERS IS NOW OPEN! Reserve your spot HERE. Purchasing your spot may look a little different than in the past - but just follow the prompts and you should be good to go. You can pay with a credit card OR use PayPal. If you have any questions at all, please email webmaster@colleaguesofcalligraphy.com.
About Carl Rohrs
Lettering artist and sign painter in Santa Cruz, California, since 1977.
Teacher of Lettering & Typography and Graphic Design at Cabrillo College, since 1984.
Workshops and conferences, worldwide, since 1986.
Editor of Alphabet, the Journal of the Friends of Calligraphy, 1989–1992, and 2015–present.
Hobbies include typographic errors, procrastination, and spilling paint on good clothes.
