SILVER LEAF GILDING AND PAINTING TECHNIQUES FOR
In this workshop, you can explore several painting
and gilding techniques using capitals.
We start out by writing out a word or words in
chunky capitals, using a variety of tools (e.g.
double pencils, a large broad-edged nib, an automatic
pen, a felt-tip pen, or an ordinary pencil). A simple
method of drawing chunky capitals, using skeleton
capitals as a basis, will also be demonstrated.
Then we will explore two ways of gilding capitals
using silver leaf, as well as four different painting
techniques using watercolours:
- laying washes
- painting capitals
- using resist
- creating textures in the background
All of these techniques will be used to integrate
the background and lettering to create a harmonious
No experience in gilding necessary. 2 day workshop.
COLOUR BACKGROUND TECHNIQUES FOR CALLIGRAPHERS
In this workshop, you can explore various methods
of paper decorating.
These techniques can be applied to a variety of
uses: as backgrounds for lettering, drawing or painting,
as well as for book-covers, pages, end-pages or
as a basis for collage.
You will learn how to lay washes, explore pattern-
and mark-making, and experiment with texture and
colour, using brushes, rollers, sponges, tissue
paper, clingfilm, seasalt, candle wax, bleach, et
1 or 2 day workshop
CREATING CALLIGRAPHIC TEXTURES WITH CAPITALS
In this workshop you will experiment with capitals
in a multitude of different ways, in order to enliven
your calligraphic work.
Using Italic or Roman capitals as a starting point,
you will be offered various exercises to explore
textural possibilities and will be able to experiment
with single or multiple layering of scripts.
Calligraphic textures offer numerous possibilities
for creating dynamic backgrounds, adding a focal
point to your work or just giving it added liveliness
You will use a variety of tools, such as the broad-edged
nib, the automatic pen, the ruling pen, the bamboo
pen, the chisel-edged brush, and even popsicle sticks
and an old toothbrush.
Day One: You will be taken through various exercises
using capitals to explore textural possibilities.You
will be encouraged to use a variety of different
tools, in order to explore textural possibilities
further and create a number of different effects.
Day Two: You will select 1 to 3 textures from those
employed on day 1, to which you will add either
a short quote, a sentence, or even just a word,
in order to produce a finished piece of work.
By using cut and paste techniques, you will be
able to try different layouts for your chosen text
ANALYSING A HISTORICAL SCRIPT
In this workshop, you can learn how to analyse
a historical script, in order to understand and
reproduce it correctly, through examining pen angle,
letter weight, stroke order, arch structure, serif
type, slope, and so on. This process also includes
suggestions about ways to adapt such a script for
By tracing and copying, you will learn the ‘feel’
of the script, so you can emulate the flow and speed
which the medieval scribe employed in order to achieve
his or her interpretation of the script.
Learning how to analyse a historical script will
contribute to your greater awareness and understanding
of lettering, in general. It will also encourage
awareness and attention to the finer points of a
1 day workshops available for the following:
- Formal Italic: “Bembo Sonnets” (c.
- Humanist Cursive (Italic): “Saturnalia
of Macrobius” (c. 1465)
- Carolingian: “Text from the Grandval Bible”
|Cnut Charter Hand
|Adopted modernized version
THE CNUT CHARTER HAND
The ‘Cnut Charter Hand’ , an early
11th c. hand refers to a somewhat compressed English
minuscule. The script has a firm structure and is
written with rhythmic movement and has a lightness
The name of the script refers to a manuscript called
‘The Cnut Charter of 1018’ written by
Eadvius Basan, scribe of Christ Church, Canterbury
between 1012 – 1023. (Several other manuscripts
attributed to him are in the British Library).
In the workshop we will use a photocopy of an original
of the script as a starting point in order to analyse
the structure of the script (e.g. pen angle, letter
weight, stroke order, arch structure etc.).
Then we will practice an adapted version of the
script, more suitable for modern use.
This script is very suitable for longer texts,
if space is a consideration.
It lends itself very well for formal documents and
in manuscript books.
2 Day workshop.