Loosening Up With Calligraphy & Paint

2-Day Workshop

Tuesday, July 6 at 9:00 AM CDT

All Skill Levels Welcome
Painting

Loosening Up with Calligraphy & Paint

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Description

The desire for more spontaneity and freedom in our calligraphic creations and painted backgrounds does not necessarily imply an “anything goes” approach. More successful artworks often depend upon various elements all coming together nicely to create unity: line, colour, movement and composition. Working with subtle nuances and strong contrasts, we will balance the two opposing energies of chaos and structure to find ways of expressing our individual concepts. Through guided exercises and exploration, we will develop a series of small paintings, a simply assembled artist’s book and then go on to create one larger piece, incorporating our textual elements along with our imagery as we progress. Far from an illustrative approach, where one might add the calligraphy as a final touch, we will consider our written words as an integral part of the visual process and composition. Starting with the usual cropping of our artwork in order to “find” the best composition, we will go on to focus on making our images work together as a whole, right from our initial concept. This workshop is for those who want to develop confidence, explore meaningful content and acquire a greater artistic freedom with their calligraphic artwork.

Supplies

  • Calligraphy Supplies – any calligraphy tools you like writing with including automatic pens, ruling pen, cola pen, etc. Also, any unusual or found tools you work with.
  • Brushes – your usual paint brushes, including a mid-sized pointed brush and flat brush (or hake), also a flat brush for lettering (synthetic hairs) and a Chinese brush. You should have a mix of good brushes and some old, scrappy ones as well.
  • Inks – sumi (good quality)
  • Coloured Acrylic inks (at least 3 transparent colours of different values, ex. warm yellow, deep dark brown, beautiful blue or deep red, any brand…). Choose colours that you like to work with, not necessarily the bright primary colours. Your colours should be quite vivid and rich.
  • Paints – watercolour or gouache (your favourite colours in tubes or a small portable palette)
  • Black and White gouache (in tubes) or Dr. Martin’s Bleed-proof White
  • Fineline applicator
  • Large white plate for mixing colours
  • Drawing materials – pencils (4B and 8B), eraser and ruler
  • A selection of a few water-soluble pencils or drawing sticks you wish to work with (example: watercolour pencils, water soluble graphite or carbon, etc) These are great for mark making.
  • A few coloured pencils or felt markers (I like to have a selection of black and dark coloured felt pens, like Pigma Micron and Staedtler Triplus, giving me a choice of waterproof or not)
  • Extras – Masking tape – the green one (I don’t like the green, but it does work well)
  • Two containers for water (yogurt containers are fine)
  • Any sketchpad or book for taking notes and for any composition sketches, etc.
  • Paper towels or rags, something to cover the tabletop
  • Scissors and/or x-acto knife and small cutting board
  • Small spray bottle or atomizer
  • Paper – Arches Text Wove (4 or 5 half sheets, for exercises) plus, have more paper and other options if you work quickly and want to try other papers (Somerset, Stonehenge)
  • Two full sheets of Watercolour Paper (140lb, Cold Press, 100% cotton) like Arches, Fabriano, W&N, etc. One sheet will be for the small series and the other for our large painting.
  • Important: Your Text – 10 to 100 words, from a sentence to a paragraph (your words or someone else’s – think copyright…) The theme to be explored in this workshop is: CONTRASTS (light/darkness, chaos/structure, summer/winter, earth/sky, warmth/coolness, organic/geometric, etc ) – your choice. Try to have your text be meaningful to you, it will help contribute to a sense of connectedness, always important in artwork!
Gemma Black Legacies III

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www.lornamulligan.com

WORKSHOP LINKS

YUKIMI ANNAND
Sequence: Journey of Experimental Calligraphy

PAUL ANTONIO
Fraktur In Its Glory

SUZIE BERINGER
The Unconventional Pointed Pen

GEMMA BLACK
Drawing the Fibonacci Sequence

TROY BOOKS
Itty Bitty Books

IVAN CASTRO
Basic Rudolf Koch:
Blackletter Und Neuland

MARCO CHIOINO
In Search of the Essential

ANNIE CICALE
Value Contrast: Exploring the Grey Areas
Word Meets Image on the Page

BARBARA CLOSE
Letters & Blossoms
Graphite Explorations

SUZANNE CUNNINGHAM
Beginning Copperplate Script

JUDY DETRICK
A Letter and a Rectangle

CAROL DUBOSCH
Ben Shahn Lettering
Bone Script: Bookhand with a Twist
Stamp Carving

DEBORAH DUTTON
Buttonhole Art Journal

JOANNE FINK
Contemporary Ensō Circles
Expressions of Faith

JESSIE FORA
(M) Handwritten: The Art of Tattoo Lettering

MARCIA FRIEDMAN
Morphing Monograms

CONNIE FURGASON
Season Leaves Booklet

RISA GETTLER
(M) Painting Knotty Letters
Visigothic Versals

TAMER GHONEIM
Gothic Lettering Magic with Procreate
Blackletter Circles on Steroids
Hand-Lettered Abstract Paintings

CLAUDIO GIL
Bruta LaGrafia, Calligraphy Beyond Styles 2-Day

MIKE GOLD
Breaking the Rules
Spontaneous Creation
(M) Variations in A

KEN HARRIS
Medieval Illuminating Techniques
Traditional Raised & Burnished Gilding

HEATHER HELD
The Glittering Vine
Victorian Frames & Labels

NANCY HILLS
(M) Learning to Sketch Out Celtic Knots

THOMAS HOYER
Dynamic Textures
Ruling Pens Beyond the Rules
The Alchemist’s Magic

CARRIE IMAI
Playful Letters
Mark My Words
(T) Mastering Italic
(M) Blame It On The Tools

GINA JONAS
Moto: Movement and Touch
(M) A Meditative Calligraphy Technique

ALINE KAORI
Mix and Match:
Calligraphy & Lettering as Design Tools

BILL KEMP
Engrosser's Script

SALMAN KHATTAK
French Roundhand
Introduction to Riqa Calligraphy (Arabic)
(M) Pen to Pixels
(M) Lines & Tines

ROB LEUSCHKE
Tool2Type

MARTA MAPELLI
Expressive Pointed Italic
Pointed Brush

HEATHER MARTINEZ
(M) Learn to Sketchnote!

ELIZABETH MCKEE
Pointed Brush for Beginners

GUI MENGA
Mix and Match:
Calligraphy & Lettering as Design Tools

HOLLY MONROE
Decorated Letters
Italic Lettering - Basics & Beyond
(M) The Business of Calligraphy
(M) Lettering on Vellum

SUZANNE MOORE
In the Glow of Gouache
Page Dazzle: Patent Leaf Gilding

BARRY MORENTZ
Morphing Monograms

LORNA MULLIGAN
Loosening Up With Calligraphy & Paint

MICHELE NIDENOFF
(M) Decorative Borders w/Simple Tools
(M) Watercolor & Lettering with Masking Techniques

AMY NIELSEN
(M) A Handwriting Called Petrarch

CORA PEARL
Monoline Lettering with a 'B' Nib
Monoline Lettering Techniques
(T) Foundation Tune-up Class
Hand Lettering with the Folded Pen

SALLY PENLEY
Sensational Sumi!
(M) Pastel Dusting Technique
(M) Pleated Scroll Book

JAN PICKETT
Creative Colour for All Occasions
Embossing with Extra Pizazz!
Letters Unlimited

ALI RICCARDO
Graffiti Writing - The New York Lesson
Rudolf Says

ROBBIE SASLOW
(M) Playing With Pens & Pencils
Round & Robust: Exploring Uncial
Simple & Semitic

LINDA SCHNEIDER
The Graceful Marker: Pointed Brush Script
Calligraphy on the Go!
Calligraphy on the Go! Writing On Glass

CAROL MEASURES SCOTT
(M) Captivating Color in Calligraphy

MARINA SORIA
The Empty Space, Womb of Shape
Weaving Words

JACQUELINE SULLIVAN
Cold Wax Calligraphic Abstracts
Markmaking, Words & Art
(M) Calligraphy & Mark Making with the Gel Plate
(M) Mini Book Madness

JANET TAKAHASHI
The Art of Miniature Painting & Lettering

NINA TRAN
Flourishes Unraveled

JERRY TRESSER
(M) The Techniques and Secrets to Raised Gilding

ELMO VAN SLINGERLAND
Broad-edged pen: Roman Capitals

MARK VAN STONE
Versals
Versals & White Vine Decoration

JURGEN VERCAEMST
Colorful Lettering Composition

JULIE WILDMAN
Akim Variations and Long Compositions
Alphabet Book
The Inside Curve Alphabet

ELEANOR WINTERS
Copperplate Boot Camp
Gothicized Italic