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A Calligraphic Tour of Tuscany

When: April 3rd, 2017 7:30 pm

Where: Trinity Episcopal Church, Morrison Room

Enjoy a little armchair travel to Italy! We will visit Pisa, Siena and Florence with Christine Colasurdo and enjoy some of the calligraphic treasures that are part of Tuscany’s artistic heritage. Christine will show us images of her travels and explain a little bit about the lettering styles used by monks and craftsmen to make the magnificent choir books of the late Middle Ages.

Come one, come all to our monthly member meeting! This month, we have a very special treat in store for you in the form of a presentation on Humanist Bookhand by Laura Drager.

When: Monday, March 13th
Where: Trinity Cathedral (147 NW 19th Ave, Portland, OR 97209)

Playful Letters

Drawn letters based on Humanist Bookhand, Playful Letters become 3D eye catchers. They’re so versatile, they become addictive. This script is useful for envelopes, invitations, posters, banners, and more. Beginners as well as advanced lettering artists will enjoy learning these letters.

Supply List:

Pencil, eraser, fine black pen (.5 or less), and colored pencils (a minimum of three similar colors – light, medium, and dark).
Optional: Colorless blender pencil, grey “shadow” marker, “clear star” gel pen, and a white marker. The optional items will be available for use. Paper and exemplars will be provided.

The annual International Lettering Arts Conference will be June 24 – July 1, 2017 at Weber State University in Ogden, Utah. Registration begins July 1, 2016. Details on the conference website www.LetterWorks.org

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Gothicized Italic with Barry Morentz

The Portland Society for Calligraphy Presents:

Gothicized Italic

A Workshop with Barry Morentz

April 22-23, 2017 from 9:00am to 4:00pm, $135
At Portland Community College, Sylvania campus
This workshop is for Intermediate to Advanced students.


Registration opens March 15th
(Do not postmark registrations before this date)

Registration Form

Supply List

About This Workshop

Edward Johnston’s last major manuscript hand, developed in 1924, was a compressed Foundational characterized by a rich, dense texture quite similar to a Gothic Textura. The name Gothicized Italic is, however, somewhat misleading, because the forms themselves bear little, if any, affinity to Italian Renaissance styles. Yet because of its compressed, pointed character, and when written on a slight slope, it does take on something of the lively rhythm of Italic, culminating in an evocative, often sumptuous style of writing. It is most effective for wedding invitations, formal documents, and some poetry.

In this workshop we begin by looking at Johnston’s forms and their historical antecedents. Then we zoom into the 21st century and consider the forms stripped of anachronisms, and apply modern techniques to make them more viable. Day 1 deals with the minuscules and the rhythm of writing and spacing. On Day 2 we will work with the variables that create an entirely different feel, as well as with the bounty of styles that permit us to create an endless repertory of Capitals. This class is not for the newcomer to Calligraphy or for the faint-hearted. Prior experience, and some fluidity in Foundational and Italic is essential.


About The Instructor

BARRY MORENTZ owns and operates his Manhattan studio where he creates calligraphic works and hand-made books, boxes, and portfolios. He holds an MA in Medieval History, but abandoned pursuit of a doctorate in favor of an even less likely career in calligraphy. Initially self-taught, he began his formal calligraphic studies, primarily with Sheila Waters, in 1977, and eventually with almost every internationally recognized master. A seminal experience was participation in the Hermann Zapf Master Class at Rochester Institute of Technology in 1985, and subsequent paleographic studies in Rome and the Vatican Library. He has taught numerous workshops throughout the US, Canada, Japan, Hong Kong, and Singapore, and at five international Calligraphy Conferences.

In his midtown studio he ministers to the needs of The Estee Lauder Companies, Cartier, International Rolex, Columbia University, and The Museum of Modern Art, where he has been The Living Anachronism since 1986. His day-to-day work includes Illuminated Resolutions and Awards Design, Publications Headings, Book and Portfolio Design, and the application of fine lettering in a range of areas. A life-long love for Shakespeare informs and inspires his personal work, which can be seen in numerous publications. In 2002 he realized a long-time goal of studying classical mosaics in Ravenna, Italy, where he learned to execute letters in an ancient format. After almost 39 years he remains inspired by the visual and emotional power of letterforms to communicate on a deeply-felt level and to challenge the viewer to discover and interpret the layers of meaning within a text.


More images

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