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

    • December 11, 2021
    • 10:00 AM - 11:30 AM (PST)
    • Zoom - online
    Register

    Artwork by Ginger Cook

    Sponsored by San Diego chapter

    Free

    Take a break from your hectic holiday prep and join us as we relax  with friends, via Zoom.  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 favorite quotes/affirmations*, to be compiled and later shared with our San Diego mailing list. The aim will be for everyone to choose a favorite, or two, and create a piece of calligraphy.

    For members willing to share their resulting artwork,  the entries will be posted on our Instagram account and in our newsletter and prizes will be awarded to two members who submit (random drawing  for $25 discount to a San Diego chapter workshop). 

    *Please send your quotes/affirmations to Marsha by Dec 1.

    Questions? E-mail Marsha at sdvp@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/Regionals

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

    Presenter: Marjorie Grace-Sayers


    SPONSORED: Inland Empire/Pomona Valley Chapter


    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!

    About Marjorie Grace-Sayers: Marjorie Grace-Sayers began studying calligraphy in 1999 with DeAnn Singh but is a life-long crafter.  She has studied and produced work in watercolor, photography, handmade books, mixed-media, paper crafts, quilting, needlework, etc.   She has taught art to students from preschool through seniors, as well as mini-classes for Letters CA, at the SfC Retreat, and at Designing Letters Studio.  She is also a retired music teacher and flutist with Bachelor and Masters Degrees in music from USC. Marjorie has been a member of the Society for Calligraphy for nearly 20 years and currently serves on the Board as Secretary. 

    Supply List: 

    For the pattern:

    • A 12 “ x 12” piece of paper (approx. 40-90 # weight) - examples include copy paper weight, solid color thinner scrapbook paper, origami paper, sketch paper, drawing paper, a paper bag, butcher paper, gift wrap, etc.  NOT Cardboard, card stock, Bristol board, etc.  We will be folding it several times.
    • An 18” ruler.
    • A bone folder or plastic knife.
    • Pencil.
    • Eraser.
    • Two colored pencils or pens (I have used blue and red).

    For the finished valentine:

    • A 12” x 12” piece of better paper (Arches textwove, mixed media paper,  good drawing paper, 90# watercolor paper if you are using paint) or you could you one of the above examples if you are not using water media - not more than 90#
    • Anything you have to decorate the Valentine (or any other theme)

    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 03, 2022
    • 1:00 PM - 4:00 PM (PDT)
    • 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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