Programs

The SfC offers free programs to the public throughout the year as part of our mission to support and share calligraphy in Southern California. 


Upcoming events

    • August 21, 2021
    • (PDT)
    • September 25, 2021
    • (PDT)
    • 4 sessions
    • Zoom - online
    Register

    Speaker:  D O N A L D   J A C K S O N

    - This series will be recorded and made available to all -


    From Royal Scrolls to the Saint John’s Bible to “Have I had my breakfast yet?”  Master Calligrapher Donald Jackson shares lessons and insights from a lifetime of working in letters. He is the official scribe and calligrapher to the Crown Office of United Kingdom of Great Britain and Northern Ireland. Donald is also the author of The Story of Writing and The Calligrapher's Art.


     Lecture 1August 21:   LEARNING and LUCK

    Early studies and training opportunities, inspiration and influences; traditional materials and techniques.
    Recording: 
    https://youtu.be/BNQk-oxE8IA 

    Lecture 2September 4:   EARNING and LUCK

    Quills, gold leaf and parchment: Who needs them? Keeping afloat over the years, making things in ways that matter to you and for people who don’t need them (until they do).

    Lecture 3September 18:   SPREADING the WORD

    Teaching, sharing, showing and telling; students and teachers learning from each other.

    Lecture 4September 25:   FACING the DEMONS

    What next? Where will these marks I am making take me to? The role of playing with letters with an open heart


    Download Flyer for 2021 Master's Lecture Series


    Sponsor: Society for Calligraphy,  Los Angeles, CA

     NO audio or video recording of any program, meeting, workshop or other SfC function permitted without prior consent of both guest artist and a representative of the Board of Governors.


    Notes on Zoom notification:

    A very small percentage of emails bounce back.  If you do not receive your Zoom invitation, please contact Kristi: Zoom@societyforcalligraphy.org (You can reach Kristi up to an hour before the program.)

    • October 02, 2021
    • 11:00 AM - 1:30 PM (PDT)
    • Zoom - online

    Moderated by Kitty Maryatt 

    Sponsored by Designer Bookbinders, UK

    Meet the U.S. and U.K. binders of the 2018 facsimile by Kitty Maryatt of the 1913 book, La Prose du Transsibérien, by Blaise Cendrars and Sonia Delaunay. The binding by Paul Bonet of a copy of the original in 1963–64 was the inspiration for the idea to commission twenty-five binders to bind the 2018 facsimile, which replicated the original techniques of letterpress and pochoir. The resulting bindings were shown at the exhibit titled Drop Dead Gorgeous, which toured the country starting in San Francisco, Los Angeles, Boston. The exhibit closed in Minneapolis at MCBA on May 9, and show in London from October 4 to 25, 2021 . An exhibition catalog for Drop Dead Gorgeous is available.

    The binders will discuss their process of designing and executing a binding for the new facsimile of a book that was groundbreaking for its time.  There will be time at the very end of all the sessions for the binders to ask each other questions, and to interact with the audience.

    The lecture will be recorded and a link sent to registrants.

    For more details, see the full flier here.

    TO REGISTER: https://www.eventbrite.co.uk/e/contemporary-binders-of-la-prose-du-transsiberien-zoom-event-2nd-october-tickets-174303134367 


    • October 10, 2021
    • 1:30 PM - 3:30 PM (PDT)
    • Zoom online
    Register

    with Eva-Lynn Diesenhaus


    Sponsored by your SAN DIEGO chapter

    Sunday, October 10, 2010

    Free

    We'll create a box and books using one sheet of paper for each. You'll come away with a box with a lid and four books inside.  You may wish to use your Playsheets from the September program.

    For the box and lid: 

    • 90# mixed media paper (Eva-Lynn used Canson).
    •  Cut to the following sizes: 1 at 9"x9”; 1 at 4.75"x4.75”

    For the books:

    • Text weight- your practice papers or papers from the September Meeting, scrapbook paper, or another paper of your choice. 
    • Cut to the following sizes: 2 at 8.5"x 11”; 2 at 11"x11”


    Additional Supplies:

    • Pencil
    • Eraser
    • Metal Ruler
    • Cutting Mat
    • Xacto knife with #11 blade
    • Bone Folder
    • Needle
    • Thread for binding
    • Scissor for cutting thread
    • Awl
    • Glue:  Glue Stick OR Double sided tape (1/4 “or 1/2”) such as SuperTape by iCraft (red liner) OR tape runner with double-sided tape (such as Tombo or Scotch)
    • Optional:  beads and needle and thread, used for the beads

    Questions? E-mail Kristi at sdworkshops@societyforcalligraphy.org. NO audio or video recording of any program, meeting, workshop or other SfC function permitted without prior consent of both guest artist and a representative of the Board of Governors. ** You must ask permission of the artist/ instructor to photograph any copyrighted materials, including demos.

    www.societyforcalligraphy.org

    • October 22, 2021
    • (PDT)
    • Online - Zoom

    Inland Empire/Pomona Valley Chapter -

    OUR FIRST ONLINE EXHIBIT WILL BE LAUNCHING ON OCTOBER 22!!!

    FOR THOSE WISHING TO ENTER:

    TIMELINE:

    September 17 - Entry Forms are due

    October 8 - All images of art works are due

    October 22 - Exhibit Opening Reception

    We invite and encourage each of our members and instructors to submit at least one of their favorite pieces to showcase in our exhibit. Perfection is not required!

    Please fill out a separate ENTRY FORM for each piece you plan to submit. 

    CALL FOR ENTRIES

    ENTRY FORM  

    Questions?  Andromeda Tang at ie.pv.sfcexhibits@gmail.com 

    • October 30, 2021
    • 10:00 AM - 12:00 PM (PDT)
    • Zoom - online
    Register

    Presenter: Mina Taylor

    Sponsored by Inland Empire/Pomona Valley chapter

    About this workshop: Fall leaves are delightful to watercolor. And Morse Deco, a whimsical alphabet will be reviewed by Mina Taylor. We will learn to use the side of the brush to easily make leaves and blend colors. 

    About Mina: Mina Taylor has practiced calligraphy for over 40 years. For 20 years she ran an art show featuring 25 artists from southern California. In 1979, she launched her calligraphic business: Mina’s Manuscripts & More. Taking on students and limited commissions, her current work can be seen on Instagram, @minas.manuscripts . “I believe that calligraphic words of truth can inspire people in transition, in grief, in hopelessness, in joy, in all of life really, to think beyond their situation to eternal things."


    Supply list:

    1.Paper Cold or Hot Press 9x12 watercolor (the different textures render different effects), heavier Scratch paper (for practicing the alphabet)

    2. Watercolors: Your favorites (Winsor Newton, Schminke) or a box Prang is good, too. 

    3. At least 2-3 water color brushes with a fine tip. # 1, 2 are preferred; 3, 4 can work on a larger scale. 

    3. Fine-tipped (not extra fine) Sharpie pen or a Black Posca Medium point (not chisel)

    4. B-3 Speedball nib in holder (round nib) 

    5.  Paper towels, 5-10 q tips, small spray bottle, pencil, eraser, 4 sheets Graph paper. Removable masking or scotch tape.

    6. If you prefer to use a different short quote among the leaves you can have that penciled out on your watercolor paper.

    7. Prepare guidelines on paper that doesn’t bleed: Capitals is 8 dots, x-height is 5 dots.

    8. Padding: Mina uses thin felt to sit behind the paper as we letter

    Questions? E-mail Alessandra at iepv.sfcworkshops@gmail.com. NO audio or video recording of any program, meeting, workshop or other SfC function permitted without prior consent of both guest artist and a representative of the Board of Governors. ** You must ask permission of the artist/ instructor to photograph any copyrighted materials, including demos.

    www.societyforcalligraphy.org

    • December 11, 2021
    • (PST)
    • Zoom - online

    Artwork by Ginger Cook

    San Diego chapter

    MORE INFO TO FOLLOW

    Take a break from your hectic holiday prep and join us as we relax with friends.  We’ll learn about making the perfect cup of tea and other related factoids, before sharing our favorite affirmations. Beforehand, we’ll ask you to send us two or three favorites, to be compiled and later sent to our San Diego membership.  The aim will be for everyone to choose a favorite, or two, and create a piece of calligraphy. All entries will be shared on our Instagram account. 

    • February 06, 2022
    • 2:00 PM - 4:00 PM (PST)
    • Zoom - online

    Presenter: Marjorie Grace-Sayers

    MORE INFO TO FOLLOW

    About the program: Have fun making a Victorian Puzzle Valentine!

    This origami-inspired structure is folded from one large square of paper.

    It can be decorated with words and images on both sides and viewed 6 different ways.

    We will spend a few minutes viewing the history of this Valentine and make an easy pattern.

    Then we will fold our good paper and lay out our plan for the final project.

    No prior skills are needed and the materials list is short (use what you have on hand).

    You can also come up with variations and other uses for the structure.

    Come spend a couple of hours being creative!

    Cost: $0

    Self-registration required (will open soon)
    Questions? Alessandra at iepv.sfcworkshops@gmail.com
    NO audio or video recording of any program, meeting, workshop or other SfC function permitted without prior consent of both guest artist and a representative of the Board of Governors. ** You must ask permission of the artist/ instructor to photograph any copyrighted materials, including demos.

    www.societyforcalligraphy.org

    • April 10, 2022
    • 1:00 PM - 4:00 PM
    • Zoom - online
    Register

    Presenter: Michelle Morin

    Sponsor: San Diego Chapter  

    A hand-bookbinding tutorial using found and chosen materials to make custom, sewn-spine journals 

    ABOUT THE PROGRAM: In this class, we will use found materials (cracker boxes, recycled junk mail, used wall calendars, leftover or offcut art papers, etc.) to create and hand-bind satisfyingly chubby “junk journals” using long stitch and chain stitch bookbinding techniques. We’ll learn how to make a custom-fit piercing guide and how to make a piercing cradle from recycled materials.  You’ll also learn to see potential recyclable journal material all around you!     As time permits, we’ll share ideas for decorating and using your jumbo junk journals and show you a smaller, pamphlet-stitched variation on the “jumbo” journal.

    Making a journal yourself, from found or recycled materials, is incredibly freeing… and addictive. These books can be used for so many types of creative expression!  I use mine as mixed-media art journals, sketchbooks, storehouses for ideas or images I want to explore later, and as a place to stick collage art… the sky’s the limit.

    ABOUT "MIMO": Michelle Morin ("Mi Mo") enjoys learning and creating across several visual arts and calligraphic traditions, including mixed-media, watercolor, hand bookbinding, calligraphy and lettering. Mi Mo teaches Copperplate-based Modern Calligraphy and has hosted calligraphy study groups and creative exploration meetups in-person and online.  She is also a collector of fountain pens, hoarder of art supplies, avid journal-keeper and journal-maker, Programming Chair for Pacific Scribes, lawyer, and member of several calligraphy guilds.  You can find Mi Mo on Instagram @michelle.l.mo and @calligra_mi. 

    SUPPLY LIST: 

    Bookbinding supplies to have handy:

    • Strong thread or string with which to bind your book. You could use embroidery thread or other thin string if you already have it.  Choose waxed or unwaxed linen thread designed for bookbinding, if you are buying new. 
    • Beeswax - to wax your chosen thread (unless you’ve purchased pre-waxed thread).
    • Curved bookbinding (or upholstery) needle.  If you only have a straight needle you can use it, but it will be harder to maneuver. Whatever you use, your string or thread has to fit!
    • An awl or improvised tool with which to poke holes into your papers and cover.
    • Ruler, pencil
    • Piece of tracing paper, layout bond paper, or other scrap paper – cut this to the same size as the spine of your book; it will become a piercing guide.
    • Cutting tools for paper and cardboard: at least an X-Acto knife or Olfa knife; optionally, also scissors, paper trimmer, etc.
    • A few paper clips.
    • Paper folding tool (optional… for example a bone folder, or the back of a spoon, or your fingernail).
    • A few binder clips (optional).
    • A piercing cradle (optional; it makes poking holes in all the pages easier).  You can make one from the flap and one side of a cardboard shipping box, like an Amazon shipping box, or from a piece of foam board, and some masking tape (see tutorial at the end of this supply list). 

    Material for the cover and pages of the junk journal  
    (a big part of the fun is gathering the materials for the cover and the pages!)

    Cardboard box, such as a graham cracker box, frozen pizza box, or Ritz cracker box, cut and prepared as follows:

    1. Open the glued edges of the box until it is one flat piece of cardboard which will become a one-piece (wraparound) front cover, spine, and back cover for your junk journal. The narrowest side of the box becomes the spine of the book.
    2. Keep the front cover, spine, and back cover attached to each other as one piece. Trim off the top and bottom box flaps that stick out, so that the whole piece is just a long rectangle. 
    3. Optional: decorate the outside cover, for example by painting with acrylic paints or covering with collage paper or decorative paper – we won’t have time to let any paint dry during class. Your spine stitches will show on the outside of the spine.

    A collection of papers folded into signatures (see image).  The height and width of each folded signature should be the same as or smaller than the height of your book cover. Recto and verso (right and left sides of the folded signature) need not be symmetrical.  For example, if a page is really long you could fold one side in rather than trimming it. Or if it is too short you can have one side be just a flap.

    Examples of papers to collect for book pages

    • Old calligraphy practice sheets, best if 9x12 inches or 11x17 inches (or bigger).
    • The front covers from emptied pads of paper, best if 9x12 inches or bigger.
    • Pieces cut from brown packing paper or brown paper bags.
    • Scrap paper or decorative paper you didn’t like or didn’t finish on other projects, such as offcuts from big sheets of watercolor or Arches text wove or cover papers from other bookbinding projects.
    • Your art that you don’t mind cutting/binding into a book (paste paper, sketch paper,  watercolor paper, mixed-media paper, etc.) 
    • Recycle any pieces of leftover cardstock, scrapbook paper, or cardboard that are big enough to make a signature.  Freshly meal boxes, for example.
    • Old magazine pages.  For example, take the staples out of a USPS stamp catalog and voila! You have pre-folded signatures made from sturdy magazine paper.
    • Junk mail, especially if you get newsletter-formatted junk mail (bigger pages)
    • Recycled manila or other large envelopes in which you’ve received mail, like the envelope from calligraphy guild mailings.
    • Old wall calendars, old (used) wrapping paper

    **Don’t worry if the scrap or recycled paper is very thin: you can put two or more sheets back-to-back and later, after the book is finished, you can glue them together.

    **Don’t worry if all your pages are not big enough. It’s OK for some pages to be smaller than others.

    A handout will be sent in advance, with instructions/suggestions for preparing your pages and cover. 


    • May 21, 2022
    • 2:00 PM - 4:00 PM (PDT)
    • Zoom - online
    Register

    Presenter: Michelle Morin

    SPONSORED: Inland Empire/Pomona Valley Chapter


    ABOUT THE PROGRAM: In this class, we will use both composition principles and intuition (improvisation) to make fun and beautiful modern flourished borders for your calligraphy or handwritten pieces. Michelle will  use a pointed pen with metallic watercolors, but you  may use any tool and any ink you prefer (see materials list for suggested alternative  monoline or pressure-sensitive tools).
        
    These borders can coordinate with many calligraphic hands, including Copperplate-based and Spencerian-based pointed pen scripts.  Michelle has  used these borders around and in her calligraphy sketchbook pages and art pieces, on cards, and as custom stationary borders.
       Experience with preparing and using a pointed pen is recommended but not required if other tools are used. 

       In this class, we will learn:

    • How to make easy shapes that become the components of a modern flourished border
    • How to combine those shapes as you move along the page border, in either an intuitive process or through intentional planning and, if you wish, a grid system
    • How to vary the shapes and styles to create different looks, using metallic watercolors, watercolor pencils, and/or different types of pointed nibs

    ABOUT MIMO: Michelle Morin ("Mi Mo") enjoys learning and creating in many visual arts and calligraphic traditions, including mixed-media, watercolor, and hand bookbinding, as well as calligraphy and lettering using pointed pen, pointed brush/marker, pencil, and other tools.  Mi Mo teaches a Copperplate-based Modern Calligraphy and runs regular calligraphy study groups and creative meetups online.  She is also a collector of fountain pens, hoarder of art supplies, avid journal-keeper and journal-maker, Program Chair for Pacific Scribes, corporate lawyer, and mom.  @michelle.l.mo and @calligra_mi.

    SUPPLIES: 
    Your favorite pointed pen holder (straight or oblique), at least two different pointed nibs, ink, preferably in a few colors, and paper of your choice that works well with your inks and nibs.  
       These are the nibs, inks, and paper I like. You do not have to buy exactly what I use! Use what you have and what you love:

    • Nibs: a softer nib such as a Hunt 101; a slightly firmer nib such as a vintage Gillott 404 and/or a Nikko G or Zebra G might be fun to try as well. 
    • Inks: I will be using half-pans, quarter pans, or sample “dots” of metallic watercolors (i.e., rewetting dry watercolors and painting them onto the nib). My current favorite makers are:
         - Shipped from US (find online or on Etsy): Cloverset Lettering (she rotates colors often and I love her sample dots because they are bigger than average); Iuile Watercolors; Tiny Cactus Designs; Coliro Finetec.
         - Ships from outside the US, so availability/shipping time may be an issue: The Creative Kinds, And Flower Tales. (both on Etsy)
    • Paper: 
      - For class practice, anything that works with your pointed pens and watercolor pencils. Marker paper such as Canson XL or Borden & Riley #37 Boris Marker Layout will work for the pointed pens.
      - Crane’s Lettra, which is a yummy but expensive 100% cotton paper with a bit of tooth, is great for this type of watercolor pencil work and also works for pointed pen, though your nib may catch on the fibers.
      - Southworth 100% Cotton resume paper (in white or ivory,  in 24 or 32 lb) is a bit smoother than Crane’s Lettra.
      - Tomoe River (extremely lightweight, smooth, 52 gsm Japanese stationery paper) is very good for writing with pens and fountain pens. It  works with pointed pen and I love writing letters with it.
    • Watercolor pencils and a fine-point waterbrush, such as the Pentel Aquash or similar. (Or simply use a soft-graphite pencil!)
         - I suggest having a selection of warm and cool reds or pinks, warm and cool greens, a few blues and purples, a yellow, and any other colors you like.  For example, in Derwent Inktense I like Fuchsia, Poppy Red, Apple Green, Teal Green, Peacock Blue, and Mustard.  You could buy  singles from your local art store or dickblick.com if you want to try them out.
         - I suggest a good artists’ quality brand, such as Derwent Inktense or Faber-Castell Albrecht Durer watercolor pencils, because rewetting the pigment with the waterbrush will have more impact. 



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