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Here are 5-day workshops:

Andrea Arcangeli

Andrea is going to have one 5-days workshop:
27th June - 1st July 2020

"Wonders of the V Cut letter on stone"
This 5 days workshop will be about transferring calligraphic designs on stone. From the first traces on paper till the last hit of the hammer, the partecipants will be introduced to the basic VCut tecnique, born in Roman times with the invention of latin letters, nowadays a standard in the production of lapidary works. This beginner's letter carving workshop will be open to anyone with some calligraphic experience but it won't be about any calligraphic style; it will cover only the tecniques to transfer and carve calligraphic shapes on stone.

MATERIAL LIST

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Brody Neuenschwander

Brody is going to teach a 5-day workshop:
27th June - 1st July 2020

The line and its expressive possibilities are the raw materials of calligraphy. In this course we will examine a variety of ways in which the line can be developed in order to increase its expressive power as well as its graphic quality.
This basis of my thinking on the calligraphic line is the result of years of thought on Arabic, Chinese and Japanese calligraphy, as well as on cursive hands from medieval Europe. We will also look at how Latin calligraphy can be modified and given new expressive energy. We will look at the principle of flow and ligatures and the development of alternative letterforms. Questions of legibility and function will be addressed, as well as the question of calligraphy as a fine art.
This workshop is intended to raise more questions than it can answer. Final results will be less important than getting new thought processes started. 

MATERIAL LIST

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Georgia Angelopoulos

Georgia will be teaching a 5-day workshop.
27th June - 1st July 2020

We will be learning to gild using traditional and modern techniques on various surfaces. Though we will touch on raised gilding, our focus will be flat gilding – learning how to tool the gold to create beautiful patterns in relief and experimenting with different techniques that can be used in traditional and contemporary work. Every participant will create a gold ‘palette’ or chart for future reference using a wide variety of gold alloys and metals. Complementing this will be a study of the ancient ‘Tetrachrome palette’ - mixing tints, tones and shades using ground mineral pigments and gouache to then determine which metal complements each study we’ve done. Raw materials and ground pigments will be brought in to show the origin of our colours and contemporary alternatives will be discussed.
The next part of the workshop delves into scripts from the early Eastern Roman empire, which was decidedly Greek in flavour and known as Byzantium. We will study the beautiful compressed capitals of this period and touch on early & classical Greek writing systems and their contribution to the Roman and Latin. Byzantine capitals were widely used in manuscripts, icons and we will look to these for inspiration to design Latin forms to write in English (but you can write in other languages too). These ornamental capitals often share the same stem, forming unique and abstract patterns on the page; letters are also stacked one on top of the other, and minuscule forms often nestle in amongst the large letters.
This form of writing is meditation and contemplation and writing text this way is like creating a puzzle. Each word can be arranged differently and there are a great variety of forms invented to make the letter patterns work. Although these capitals can be legible, most often they are not and were never intended to be. We will be finding ways to use the capitals legibly on the page, but also explore their abstract potential and texture using edged pens, Speedball B nibs and various tools to create monoline forms.

MATERIAL LIST 

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Gisella Biondani

Gisella will be teaching one 5-day workshop.
27th June - 1st July 2020

!!!  She will be teaching in ITALIAN
- translation into English is guaranteed!!!

Watercolour is a unique challenge for those who practise it. It stands out for its exceptional lightness, immediate expressiveness and transparency, which enable to maintain the freshness and brightness even while using very dark tones. It is an extrenely versatile painting technique as watercolours can be applied with different methods. A sharp gesture, a skilful calligraphic brush stroke can turn it into a condensed expressive means, where a simple stain becomes form, a complex expression of this marvellous painting technique.
We are going to focus on exploring various shapes and forms, experimenting how pigment interacts with water and paper, learning to handle the necessary amount of moisture in order to achieve the desired effects, so that one sharp gesture may become a compositional and chromatic synthesis. We’ll start from simple exercises, aimed at acquiring the basics of this technique, then, with the help of selected images we’ll move on to the stylisation of forms by studying chromatic and tonal contrasts. Finally, we’ll tackle the compositional aspect, inserting and harmonising graphic and calligraphic marks in the watercolour painting. The activities are designed so as to bring out everyone’s personality, as a way for everyone to find one’s own forms, colour mixtures and artistic expression. 

MATERIAL LIST

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Massimo Polello

Massimo will give a 5-day workshop...
27th June - 1st July 2020

A pattern, or texture, is an image formed by the combination of organic or geometric shapes and color, and technically, an element or a drawing that is repeated, according to a symmetry and an order.
Lots of artists (i.e. Kandinskij, Klee), scholars, architects have dealt with patterns or have exploited their qualities within their works, starting from the repetition of the same element without variations, inserting different elements into the pattern, increasing the quantity of the information, without exceeding the threshold beyond which chaos is generated.
We will studying and practicing mostly non-latin shapes/letters ( Indian, African, Classic Arabic, Kufic…) and its deformations and how to get interesting patterns and composition. We will use non latin letters above all, where we will feel more comfortable to transform them in different and new shapes and composition using all kind of tools and material we need to get the more inspirational movements and rhythms. At the same time we will explore the theme of the composition and contrast between empty and fill space.
The whole course and the method proposed will obviously also be applied to any style of writing and therefore also to our latin letters.
This course, however, would also to investigate the aspects of exit and break from the schemes and repetitions and the relationship between our ordered world and the most disobedient one.
As always in my course we will finish with a project-object (surprise) 

MATERIAL LIST

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Here are 2,5-day workshops:

Amity Parks

Amity is teaching two wonderful workshops; 2,5 day each

FIRST HALF OF THE WEEK: 
(27th June - morning of 29th June) 
"Chunky Capitals and Minuscules in Belgian Bister Inks"
This class will be spent learning a broad edged pen version of a chunky Roman capital alphabet. This fun and bold hand has a more casual and contemporary look than its more formal cousins. We’ll practice the pen manipulation that allows for dynamic stroke transitions. The boldness of this lettering style creates lovely textures and white spaces. Once we’ve learned the alphabet, we’ll add some color. This hand lends itself to fun color blending when spaced tightly, as the bold stokes stay wet and allow for bleeding from one letter to another. We’ll play with a powdered ink called Bister from Belgium to get some gorgeous and transparent color effects with our lettering. Finally, we’ll get out our pencils and add some graphite effects to our lettering to really make it pop. 

MATERIAL LIST

SECOND HALF OF THE WEEK:
(afternoon of 29th June - 1st July) 
"... and a Keen Eye - Graphite Techniques for Calligraphers"
In this class, the humble pencil and its relatives become powerful tools in creating many effects from subtle to stunning. We will use pencils, erasers, graphite sticks/blocks, powdered graphite and their water-soluble cousins to explore the possibilities of this medium for creating refined works of art to quickly made drawings in our sketchbooks.
Starting with basic drawing principles like line quality and shading, we will experiment with each tool to discover the marks it can produce. We will then move on to drawing letters and designing word groups, both formal and casual. The monochromatic drawn letterform forces us to slow down and relate more organically to the forms we are creating. You will find drawing letterforms with care and thoughtfulness to be so helpful in improving your design and lettering skills and in allowing for more refined and subtle attention to detail.
Further time will let us explore how to integrate our letters with their backgrounds into designs that will grab our viewer’s eye. Finally I’ll show you some of the tricks I’ve learned to save time and ensure success when working with this versatile medium.

MATERIAL LIST  

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Carl Rohrs

Carl is offering two different workshops;
2,5 day each

FIRST HALF OF THE WEEK:
(27th June - morning of 29th June)
"Extensive pen techniques"
This workshop is all about the new world of possibilities open to calligraphers when the pen begins to lift off of the paper. Our central focus will be on a more delicate sense of the contact between pen and paper and the control of the bead of ink that is in-between: Using & losing contact with the paper for unusual stroke shape and a controlled ragged line. The four basic lifts and flicks for the edges of our letters and the myriad ways of combining them for unlimited control. A finer awareness of pen angle and the choices that can give us a greater range of feel and weight. Bounce, angularity, rhythm, compression and new ways of thinking about terminals.
There is a different sense of delicacy about your writing when the full width of the pen never gets a chance to make its mark, and a more powerful kind of contrast when a full contact stroke is combined with pen corner details. These techniques will be useful for all alphabets, even monoline flavored, and there will be introduction to many new refinements of all types of styles.  

MATERIAL LIST

SECOND HALF OF THE WEEK:
(afternoon of 29th June - 1st July) 
Our objective is to reach brush-lettering nirvana — to submerge ourselves in the qualities of lettering that really reflect the characteristics of the tool: texture that the pen obliterates; flow and control that the pen can only dream about; voluptuousness of stroke that the pen lusts after. To really go after the full potential of both flat and pointed brushes.
Mystery and surprise. There is a Chinese saying: “The brush is more than we thought it should be.”
Brush exploration and diligence will reward you beyond the expectations you have of it. Brushes are fabulously fluid tools and there is no reason that the letters you write with them shouldn’t look that way as well. So we will not only learn how to handle the brush to make the letters we already know (plus many new ones), but we’ll make them look like they were made with the brush. With a flat brush that means a new world of texture and control, modern tricks and stroke-width modulation. With a pointed brush we will have stroke shape that a pen can’t even think about. We’ll start with the bedrock of pointed brush lettering — perpendicular strokes — but we’ll definitely go on beyond that flat headed mark to the sharp, swelling and feathery beauty of parallel strokes with vertical pressure— the key to making your lettering look LIKE its tool and UNLIKE any other kind of calligraphy. An eye-opening introduction for the brush novice, and a leap and deepening of understanding for the brush-experienced. Tools, paper, media, color, technique and a little philosophy. 

MATERIAL LIST

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Cláudio Gil

Cláudio is offering two different workshops;
2,5 day each

FIRST HALF OF THE WEEK:
(27th June - morning of 29th June)
"The Gothic eyes for brushes"    
An intermediate level calligraphy workshop involving the universe of Gothic letters.
The Gothic models had a large and complex system, with several hierarchical levels for the production of texts. Whereas only the Texture, developed in the thirteenth century, in northern Europe, we can better understand these levels, since it alone had five different types and can be seen as a personification or graphic foundation of the Gothic universe, especially in what concerns the production of books. However, the goal is to show the student through drawing, using metal pens, some of the different paths explored by different cultures in Europe during the Middle Ages. For the brushes the idea is do a small immersion / exploration in some techniques developed by the teacher and do some experiments using the gothic letters as a startup point to create some graphic pieces like posters, book pages, artworks etc.
The main proposal is to provide the student with an improvement of the techniques of lettering and composition from canonical references and to develop his own style from his particular graphic imaginary. For these explanations the teacher uses live performances and demonstrations of the Latin alphabet evolution since the ancient Roman Capital Letter and some influences of several historical alphabets on Gothic models.  

MATERIAL LIST

SECOND HALF OF THE WEEK:
(afternoon of 29th June - 1st July) 
"Calligraphy Beyond the Styles for Brushes and Souls" 
Bruta, LaGrafia - an intermediate - level workshop for calligraphers and artists interested in investigating creative methodologies for calligraphy through brushing practice.
This meeting proposes students to work intensively but without stress, taking advantage of their own knowledge in calligraphy without caring about styles, but taking risks from the hands that make them feel more comfortable to produce their ideas.
Through their own practices the members will explore their limits, looking for, from some examples, particular methodologies that allow them to discover their interests and lines of investigative work, generating different paths full of identity and freshness. A search process for a unique and unique brand for your creations.
From the ancestral styles to the contemporary ones, each one is going to invent their imaginary imaginaries through the always mysterious and unpredictable strokes of the brushes. 

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Gemma Black

Gemma is teaching two different workshops;
2,5 day each

FIRST HALF OF THE WEEK:
(27th June - morning of 29th June)
"... with versals and akim cursive supports"
(this is not a flat brush workshop)
There is so much majesty and strength of character in the monumental Roman lettering of the first century CE. Our prime specimen will be the Trajan Inscription from the base of Emperor Trajan’s Column in the Roman Forum. Its geometric balance, beauty and perfection is the pinnacle of the evolution and development of lettering as we know it today.
We will explore the history and the drawing of the Trajan inscription starting with its geometric skeletons. The class will then move on to a very contemporary, cut-back watercolour painting technique building up layers of colour with the Trajan letter forms as our subject matter. The Akim Cursive hand will be explored and used as a design element of support along with Versals or penned Roman capitals.

MATERIAL LIST

SECOND HALF OF THE WEEK:
(afternoon of 29th June - 1st July) 
Herman Kilian (1929 – 2004) was a German calligrapher, type designer and book designer who worked as a graphic artist in a large German graphic design company. His work epitomized the simplicity of classical forms with each form having a tension and character of it’s own. Kilian took pains to create each letter slowly and perfectly working with the tools of his trade, the ruling pen and the simple broad-edge. His work remains in the Schreibwerkstaat Klingspor in Offenbach am Main and the Berlin Calligraphy Collection for all to study.
In this workshop we will study his work, look at classical (penned) Roman capitals then modernizing them by changing their inter-letter and ligatured spaces. Stacked layouts and interactive letters will be the main focus of this workshop using a gold sgraffito technique, the brilliance of white on black and ruling pen and broad-nib with ink. 

MATERIAL LIST

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Julien Breton

FIRST HALF OF THE WEEK:
(27th June - morning of 29th June)
This workshop with Julien Breton aka Kaalam will encourage the beginners in calligraphy to try something new and totally inspirational! The first day, the participants will discover how to play with the strokes on paper by trying to get some beautiful parts of Latin letters inspired by the Arabic aesthetic. The students will be able to try different tools; from a spatula, cardboard to automatic pen. As the workshop is meant to be for beginners a basic composition will be explored, too.
The second day, the students will work by using light-calligraphy, a photographic process of long exposure and use light in front of a camera to reproduce their paper model. Mixing calligraphy, choreography, and photography will touch completely new horizons. 

SECOND HALF OF THE WEEK:
(afternoon of 29th June - 1st July) 
Also this workshop with Julien Breton aka Kaalam has the aim to start with calligraphy on paper to finish with light calligraphy. The first day, the participants will discover how to play with the letter on paper by following an original Latin alphabet inspired by the Arabic aesthetic with the use of all kind of tools; from the brush, cardboard, spatula, automatic pen, etc... The freedom of movement and composition will be the most important.
The second day, the students will work by using light-calligraphy, a photographic process of long exposure and use light in front of a camera to reproduce their paper calligraphy model. The participants' body, memory, and the energy will be focused on this original technic of creation, mixing calligraphy, choreography, and photography. A great challenge, right? 

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Rainer Wiebe

Rainer is offering two different workshops;
2,5 day each

FIRST HALF OF THE WEEK:
(27th June - morning of 29th June)
"Master-workshop with pencil" 
Comparing with former masterpieces made with goose quill (like those of Pierre Poujade) and engraved printings the 0,3mm and 0,2mm pencil gives the possibility to follow the idea of very fine, graceful and elegant lines.
After years of training, Rainer Wiebe offers his experience with pointed metal nibs in his more effective method using the pencil.
Slow moving without muscle power remembers to Tai Jie, fine grey hairlines and nearly black lines with pressure jump over the common contrast using ink.
This method will show you the third dimension in every letter. One of my next projects will be a book about pencil Anglaise with all these helping instructions.
Understanding the construction and good proportions of Anglaise letters we use clear and simple rules to find our balance in combining perfection with freedom. We will dare 1mm n-height, ornamental loopings as a basic part in designing with Anglaise.
You should bring with You basically some experience in Calligraphy and it will be helpful that You have tried Anglaise, too. I promise You will lean very helpful technics for Your future Calligraphy career. 

MATERIAL LIST

SECOND HALF OF THE WEEK:
(afternoon of 29th June - 1st July) 
Using traditional letterforms of Textur and Fraktur Rainer Wiebe will teach his way of playing with his manipulated Parallelpens SPACEFÜLLER and RULINGFÜLLER.
Beginners and masters will enjoy this easy way of progress using these fountain pens.Knowing that even children made good efforts with these methods masters can still go on here to find unknown solutions. Good models will inspire and enjoy.
The decorative parallel lines of the SPACEFÜLLER, fine lines using the corner of the nib, combining with the organic and splashing lines of the RULINGFÜLLER and using a waterproof and lightfast ink with archival quality (SUPER 5 ink) complete our high end playing. 

MATERIAL LIST

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Tolga Girgin

Tolga is offering two workshops;
2,5 day each - similar - but one for beginners and the other for advanced students

FIRST HALF OF THE WEEK:
(27th June - morning of 29th June)
"Optical Illusion in Calligraphy & Lettering" 
By joining this workshop, you will move on to the third dimension and embark on a fun and magical adventure. You will easily understand the subtleties of optical illusion and learn how to use this technique in your calligraphy and lettering projects. In addition, this unique workshop will bring out your creativity and open a different window in your mind.
Also, you will learn so valuable information about light and shadow and learn how to make proper shadows using pencils. In the workshop, I will show you how to create guidelines for optical illusion by using a camera (mobile phone camera) and different shaped 3D geometric objects (I will bring enough for the workshop). Then I will teach how to use those guidelines to write or draw letters, how to shade the composition, and finally how to photograph the composition we have created. You will learn lots of tricks. I will also share some of the templates I have made for my previous projects with you to try different projects. At the end of the workshop, each participant will have learned and completed at least 3 different projects. 

MATERIAL LIST

SECOND HALF OF THE WEEK:
(afternoon of 29th June - 1st July) 
By joining this workshop, you will move on to the third dimension and embark on a fun and magical adventure. You will easily understand the subtleties of optical illusion and learn how to use this technique in your calligraphy and lettering projects. In addition, this unique workshop will bring out your creativity and open a different window in your mind.
Also, you will learn so valuable information about light and shadow and learn how to make proper shadows using pencils. In the workshop, I will show you how to create guidelines for optical illusion by using a camera (mobile phone camera) and different shaped 3D geometric objects (I will bring enough for the workshop). Then I will teach how to use those guidelines to write or draw letters, how to shade the composition, and finally how to photograph the composition we have created. You will learn lots of tricks. I will also share some of the templates I have made for my previous projects with you to try different projects. At the end of the workshop, each participant will have learned and completed at least 3 different projects. 

MATERIAL LIST

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Workshop's Levels

Scrolling down you will find Amazing workshops that we prepared for you!
Each has one of the signs beside the title indicating which level of knolwledge is required to attend the workshop. Make sure it doesn't stop you because of this!
It is always good to take some challenges!

Little or no experience with media            ALL LEVELS ( B - A ) - suitable for all 

knowledge of an alphabet and how to use a broad-edge lettering tool

competence in a lettering style and has knowledge of various lettering tools

knowledge and skills of several lettering styles and lettering tools and writes confidently

experienced lettering skills and is proficient in several lettering styles

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Policies

Cancellation fees reflect the cost of registration, staff, instructor contracts, material acquisitions, and other services. This policy applies to all registrants, regardless of the reason for cancelling. We encourage the use of trip insurance to cover this.

• Cancellation:  today - 20. Feb. 2020 = 100% Refund minus 90 € 
• Cancellation:  21. Feb. 2020 - 30. Mar. 2020 = 50% Refund minus 90 €  (unless you find a replacement)
• Cancellation:  on or after 31. Mar. 2020 = 0% Refund (unless you find a replacement)

WRN reserves the right to cancel a workshop 30 days prior to the start of the conference, if the minimum number of students has not been met for a class.
WRN will notify the registrants if there is a need to cancel. Students will have then receive the subsequent choices (2nd or 3rd choice of class).
Should an instructor cancel and we run the class with an equivalent caliber instructor, we do not issue refunds. WRN cannot be responsible for non-refundable airline tickets.

We expect participants will attend the entire class as scheduled. Late arrivals and early departures are disruptive for both the instructor and the other students. Please make every effort to participate fully in your class. Tuition adjustments will not be made for late arrivals or early departures.

Mail us before enrolling if you have questions about these policies.  

Registrants who wish to switch their enrollment to another class may transfer to another workshop.
If this happens after 31st January 2020 the transfer is subject to a 80 € transfer fee.
All transfers must be made 30 days prior to the workshop. (till 26th May 2020) 

Full conference fee is due to 31. March 2020. 

Registering after this date is possible only by paying a full amount of the conference fee.


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