When one hears “Brush” in calligraphic groups, most assume it means either Roman or loose script. However, there is more: Working with the Brush gives you a practical tool in your repertoire and a different way to view lettering: the forms and movements. You become less restricted once you have gained some skills. In this workshop, we will explore and we will practice. In each of the five classes, we will explore or examine an alphabet, style, or technique that features the Brush’s dimensions. On the practical side, a brush lets us work on any surface in almost any medium. As I have mentioned, it provides a different point of view of letters. Most agree that the Roman alphabet has evolved from skillful brushwork. Then again, the expressive side of brushwork may also have Eastern thought as a stimulus. We will work with a range between rapid, direct writing and slow, carefully constructed letterforms. I like to think of the Brush (both broad-edge and pointed) as a tool and an idea, as it will inform our thinking of “what a letter is.” I began my lettering career with Brush as a sign painter. Coincidently, so did Father Catich. I will present some Sign techniques, layering, brush manipulations, alphabets, hybrid approaches, and what I have acquired as a calligrapher since. As with all of my classes, we will touch upon design elements. The sessions will be recorded and available for viewing on your schedule for two months. I will provide examples and exemplars for each session. I will announce enrollment dates and info very soon.

The class will focus on Italic Letterforms; the finer points and variations.

Finer points mean all of the design and little touches to refine your Italic. A more developed and technically challenging approach than the familiar, beginning Italic will be presented, with advanced ideas toward letter design and page design.

*Advanced is subjective; but I mean that some of the techniques and concepts will be more advanced than what is presented in a beginning Italic class. This class is not suitable for beginners.

Brush Roman & Beyond is the workshop John has been teaching the longest throughout his career and a close examination of creating Roman Capitals with a flat brush and pen. Many well-known calligraphers have taken this class with John. About 2000 years ago, the Romans had evolved these lovely forms, which they borrowed from the Greeks and perhaps, the Etruscans. The beauty of these forms is that they remain the traditional standard. Most experts agree that the beautiful nuances and serifs result from writing with the chisel-edged brush*. The study of Roman capitals offers many neverending “lessons” on the subtleties of Letterform design. They are challenging to do and require much practice. It is the study of form and ultimately will inform all of your lettering work. You will improve your abilities while challenging yourself to see as well. The knowledge gained in this class will also yield possibilities for creative variations that will have sound design principles behind them. We begin with simple forms to get comfortable with the brush. We will build up our skills to an expert level, writing fully formed Trajan Roman letters with a flat brush. Furthermore, we learn the moves and techniques that will let you “see” the cause of these shapes that have stood for twenty-one centuries. John is an acknowledged master of these forms: both teaching and doing.

Opening January 2nd, 2023
Advanced concepts and techniques in modern gothic

Learning to write Black-letter (Textura, Gothic, Fraktur, Old English) properly is a pathway into many aspects of calligraphy. At first, the pretty forms and strong pen strokes are a key attraction. However, after a while, rhythm and form begin to interact, and you can explore movement. Subtle variations in the steady vertical rhythm can help us grow as calligraphers. While writing black letter is hypnotic and puts us into a meditative state, we can focus on good pen contact, and the nuances of slight pen turning. Topics covered include rhythm, pen techniques (with and without manipulation), using as a text hand as well as embellishing the decorative aspects. We will explore both historical and contemporary approaches in the form of a project. I believe practicing Gothic, or Black-letter or Fraktur is necessary to truly understand the nuances of broad-edged pen calligraphy, as it is a lesson in the symmetrical distribution of black and white.