Massimo PolelloMassimo Polello

2.5 Days
All Levels
$8 Supply Fee

Instructor Bio

Based in Turin, Italy, Massimo Polello has worked as a calligrapher artist for over fifteen years. Since studying calligraphy, he has explored its classical and contemporary applications and potentiality in art and graphic design. These include designing packaging and signage logos for companies, museums and individuals, as well as applying his designs to walls and for interiors design.

He has exhibited, and teaches workshops and seminars regularly: USA, New Zealand, Australia, South Africa, Canada, Pakistan, Japan, France, Germany, Spain, Belgium, and England. He has worked on several short films and is a contributor to GraphicusTipoItalia and Letters Arts Review magazines.

He took part and was invited to the International Type Designer Conference in Moscow and Istanbul, and the ATypI International Type Designer Conference 2015 in San Paolo-Brasil; and taught seminars at the School of Visual Arts in New York, Concordia University Montreal, and Red Deer College, Calgary.

He was published in 2016 in collaboration with the designer Marcel Wanders in a prestigious limited edition book for the RIJKS MUSEUM in Amsterdam “The Rijksbook”, in 2009 “Traité de la peinture-Extraits” with Editions Alternatives Publisher-Paris, worked with artist and filmmaker Peter Greenaway in “Peopling the Palace”, and with the director Luca Ronconi for the installation of the of 150th Anniversary Exhibition of the Unification of Italy, “La Bella Italia”

He is president of Turin calligraphers´ guild “Dal Segno alla Scrittura” and owner of Studio Gallery ABC_Atelier and collaborated with the Medicea Laurenziana Library in Florence.

He sums up his approach to calligraphy best, “…letters become a means to exist outside myself… going beyond the letters, captured by a sole need to see. They become signs, images, evocations, urgent needs, emotions.”

Instructor Website

Massimo Polello

Class Description

How often have you thought that maybe you are dissatisfied with your calligraphic work because there is something not quite right in the compositional rhythm?

The composition is a key element, it is a whispered hint to those who come into contact with our work. The elements convey a sense of harmony, the blank space helps the eye to find stability. A sense of deep balance comes from the ability to compose and the not from leaving the observer alone, to wander around in the discomfort of instability.

But, what will happen in a limited space? Will the problems of composition be the same as those in larger spaces, or will the pressure involved in creation lend a different meaning to calligraphy and our personal research?

Our main support will be a numbers of canvases stretched on wood measuring 8 by 8 and paper also. The canvas is a little used support in artistic calligraphy, perhaps because it is taken for granted that it belongs to the “classical arts”, but the challenge will be to work with small spaces and open up new artistic possibilities.

A large part of the course will be dedicated to the techniques used to create backgrounds to inspire our compositions: gesso, pigments color, collage, stamps, printing rollers. We will obviously work a lot with calligraphic signs too, such as forms, letters and rhythms derived from non-Latin alphabets.

Supply List

Pens and Nibs
Different size and kind of nibs you prefer to use, Brause, Mitchell, Speedball, Automatic pens, ruling pen, folded pens, cola-pen, invented or unusual tools, everything you like to write with
Extra fine liner or ball pens very fine line 0.5 or 0.2 mm black color

A normal pointed brush (with plastic reservoir is fine too)
2 flat brushes : 1 better quality very flat any size from 5 to 8 cm
1 bad quality (to use onto the glue) any size from 8 to 10 cm

Gouache extra-fine quality different and your favorite colors
Black sumi-ink (or indian ink) waterproof
2/3 (or more) different colors pigments on powder, not need very expensive color ( cheaper are ground colors ) but only if you have it in your kit

10 canvases 20 x 20 cm stretched on wood (not need good quality)
5 sheets of printmaking paper at your choice…… Velin Arches 160gr – OR- CARTA VELIN RIVES BFK 200gr – or – ZERKALL 150 gr
Block of sketch pad paper A3 size
3 pieces of black mat board cut 12” x 12” square with an 8”x8” window. (Another way to think of this is a black mat that has an 8” x 8” window and 2” margins on the four sides and is 12”x12” as shown in image below.)

Massimo Polello Mat Example

Materials for Collage
Old books, printed and decorated paper old or new, old calligraphy exercises and sketches, old photos (original or on photocopy), old letters and greetings cards, stamps,……. Everything you want to glue

1 X small metallic spatula
Ox gall
Arabic gum
Knife/cutter for paper
Cutting pad
Some glass cup or paper cup, dishes for mixing gouache (for water and color)
Some short quotes or texts: haiku, songs, your own texts or quotes you like
A normal sponge
Drawing material: ruler, pencils, eraser
Only if you have it in your kit (not to buy) some letters stamps, wood letters type, letters stencil

Supply Fee $8 (acrylic medium, gesso & gum arabic)


Massimo Polello Massimo Polello Massimo Polello

Class Catalog

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