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Odyssey Conference Class Listing
A8: EPOCH, EPISTLE & EPIPHANY: Thinking in Threes
Laurie does not have a required book list for the class, but names these books as great references:
B2811. The Art and Craft of Hand Lettering by Annie Cicale.
B2783. The Calligraphic Line by Hans-Joachim-Burgert.
In the Garden by Jennifer Bartlett. Out-of-print
B1772. Free Play by Stephen Nachmanovitch.
B3176. You Must Revise Your Life by William Stafford.
Laurie Doctor: "I think of this book as a kind of handbook for calligraphers, artists, poets and teachers. Stafford demonstrates how our work happens not only in the room we are in, but and also in the larger context of ideas, attitudes, and the invisible exchange with the muse."
Denise Lach: Libres & Egaux. Out-of-print. However, Denise Lach has a new book:
B3244. Calligraphy by Denise Lach.
Pens: A fine point black permanent pen: Micron 0.3 (M17) and smaller, or any equivalent, white gel pens (M61) and/or white china markers, and any other tools you like to write with.
Ink/Paint: Watercolors (tube) (WNxxx) – warm and cool red, warm and cool yellow and warm and cool blue; white gouache (WNG512) (permanent white); acrylic paint: Azo yellow, Cadmium yellow, Quinacradone red, Cadmium red, Phthalo blue, ultramarine blue and white (I prefer Golden acrylic for quality and inten¬sity of color – tubes, jars or liquid are okay.) Sumi and/or walnut ink (I53).
Paper: 3-4 sheets of Arches Text Wove (PS01) 25" x 40"sheets, torn down to quarter size – people work at dif¬ferent speeds, so this is an estimate. 1 sheet of Arches black (PS90) or white cover paper. 11 x 14 pad of inexpensive paper for practice (P20). I recommend bringing Arches text sheets at 1/4 size for travel, and to have some pre-gessoed, so that you can work both with and without gesso.
Misc: Kneaded eraser (E09), ruler (S270, S271), pencils (S142) 2B, 3B, 4B and 2H, palette (S679, S723) or plate to mix color (or palette paper), water container (S731), pint containers with lids (if you want to mix larger quantities of paint with mediums), a range of sizes of brushes for acrylic paint, brushes for mixing paint, and a small pointed watercolor brush (whatever sizes you have, 0-6), glue stick (S391), bone folder (optional), paper towels or rags.
I will bring: rubber gloves, sandpaper, molding paste, sponges, linen thread (S351, S352, S353), wax finish, methyl cellulose (S343), pastels, materials for portfolio details.
Materials Fee: $10
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ODYSSEY. Odyssey Conference Pre-Order: Free Shipping
Odyssey Conference Pre-Order: Free Shipping
All pre-orders for the Odyssey Conference receive 10% discount.
Pre-order for pick-up at the Odyssey Conference and pay $0.00 shipping.
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B2811. Art & Craft of Hand Lettering /Cicale
The Art & Craft of Hand Lettering by Annie Cicale. Revised 2011. 192pp. 10x10. Paper $19.95
To be available again October 2011, perhaps sooner. Place your order now. Your card will not be charged before the book ships.
Annie Cicale is well-known to calligraphers throughout the USA and Canada from the many workshops and classes she has taught for guilds and at many of the summer conferences. The new printing has the same fine alphabets and good instruction, but now with larger reproductions of the historical manuscripts. Exemplars include foundational, italic, Roman, black letter, uncial, italic handwriting, pointed pen, brush lettering and ruling pen alphabets. She covers design and includes a generous gallery. Color throughout. Our most highly recommended instructional book for broad-edged calligraphy. Great for classes or self-study.
Take a peek at the cover, title page, and table of contents of the new printing!
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B2783. Calligraphic Line/Burgert
The Calligraphic Line: Thoughts on the Art of Writing
By Hans-Jochaim Burgert. 2nd edition. Translated by Brody Neuenschwander. (1989) 2002. Approx 177pp. 8.5"x11". Paper Spiral. Available Now.
Presents his perspective on the role of form and function in calligraphy and writing, the history of the graphic form (symbol/writing/calligraphy), the need and development of cursive writing and alphabets. The second section presents Burgert’s thoughts, the place of calligraphy in the Western world after the invention of printing from type and its relationship to type. Note that this is a photocopy production. The quality of the illustrations vary, but all are photocopies.
If pg.60 of your copy if blank, see a pdf of the illustrations.
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B1772. Free Play / Nachmanovitch
Free Play: Improvisation in Life and Art
By Stephen Nachmanovitch. Paper
A book on the creative process recommended by many calligraphy instructors.
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B3176. You Must Reivse Your Life
You Must Revise Your Life by William Stafford. 1986. 136pp. 25" x 8". Paperback.
Presents Stafford's views on writing as process, as "the continuing encounter between self and materials that distinguishes the practice of art." Included in the book are a selection of Stafford's poetry on the subject of writing, and an essay on the origins and influences of his art. Recommended by Laurie Doctor.
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B3244. Calligraphy / Lach
Calligraphy by Denise Lach. 2009. 192pp. 9.25" x 10.25". Hardcover.
This striking and original book is a gallery of Lach’s calligraphic work and techniques. She presents the tools she uses in her work, each with illustrative examples: broad-edge nibs, automatic pens, Pilot Parallel Pens, music nibs (for writing the notes, not the 5-line staff the notes are placed on), plus reed pens & bamboo pens, felt tip pens, and brushes. There are multi-page sections on using the ruling pen, cola pen (made from an aluminum soda can), and pipettes as lettering tools. Lach briefly discusses - using visual examples - line weight, letter and line spacing, rotation, setting a rhythm, pen position & speed, variations on a theme, organic shapes, concentric compositions, serifs, and depth & density. Then you see how she creates letterforms using stamping with unconventional materials. Examples of stamping include a row of glue-together toothpicks, sharpened sticks, an ordinary cork, foam rubber and sponge. She shows examples of combining tools and techniques in one piece. Throughout the book, with calligraphic compositions from her hand and the photos that inspired them, she invites us to look closely at details and textures in nature, expand our powers of observation and find creative ideas in the world around us.
These books are imported from England. They will usually have a slightly bumped corner.
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M17. Pigma Micron Black
The Pigma Micron is a fine-point drawing and illustration pen that utilizes the highest quality archival Pigma ink. Highly recommended and often on supply lists for workshops and classes.
For serious technical and artistic applications and for fun projects, these pens are available in six line-width sizes: 005 = 0.20mm, 01 = 0.25mm, 02 = 0.30mm, 03 = 0.35mm, 05 = 0.45mm, and 08 = 0.50mm,
The Pigma Micron is ideal for archival recording, illustration, graphic art, freehand manga drawings, and decorative fabric design*. All Micron pens have archival quality Pigma ink, are non-smearing when dry, waterproof and chemical proof, fade resistant, and don't bleed through most papers. Meets ACMI non-toxicity standards. (*Not recommended for fabrics that will be washed.)
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M61. Sakura Gelly Roll Pen
Acid free, waterproof, non-toxic, waterbased.
Choose Color:
Opaque white
Black
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I53-2.5. Walnut Drawing Ink
I53-2.5. Walnut Ink 2.5oz
A rich sepia ink. This is not a TRUE walnut ink, rather it gives you the look of walnut ink. For a true walnut ink, please see item I55 (True Walnut Ink). Thin with water to create a wash. For brush or dip pen. Already liquid. Non-waterproof (but not suitable for fountain pens). 2.5 oz
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