$25 Supply Fee
Georgia learned Italic handwriting as a young girl. Her English teacher, a member of the Society for Italic Handwriting, taught her during afterschool hours. She went on to study formal calligraphy in high school with an art teacher trained in the Edward Johnston tradition. Her family in Greece, strongly rooted in the arts, inspired her to study Classical and Byzantine calligraphic models for inspiration. She studied art history in Greece and at the University of Victoria, in British Columbia, and she retains a strong interest in the calligraphic tradition. Although much of her work is in English, she is keen to connect to her Greek heritage and create work that explores and bridges the richness of cultural identity. She is an active member of the Fairbank Calligraphy Society in Victoria, BC, Canada.
We will explore gilding using traditional and modern techniques. Our focus will be flat gilding and learning how to tool the gold to create beautiful patterns in relief. We will experiment with different techniques that can be used in traditional and contemporary work. Everyone will create samples and a gold ‘palette’ or chart for future work using a variety of gold alloys and metals. We will be complementing this with a study of the ancient Greek ‘Tetrachrome’ palette in the form of ‘mosaic’ colour studies. Raw materials and ground pigments will be brought in to show the origin of our colours and contemporary alternatives discussed.
The next component of the class will be the study of three Greek scripts: ancient capital letters from the time of Alexander the Great, the traditional uncial hand of the world’s oldest Bible, Codex Sinaiticus (ca. 330 to 360 AD), and Byzantine compressed capitals – in particular the charter hands and titling used in the eastern Roman Empire. Rather than learn how to write in Greek, we will be exploring the relationship of Greek letters to our early Latin letters and letting their unique forms broaden our perspective of the forms we know. We will touch on the spiritual and philosophical ideas behind letterform and style.
– Small piece of tracing paper or lightweight layout paper
– Graph paper pad (preferably one that takes ink well and without heavy lines – something comparable to John Neal’s 1” or Westwind pad (If you can’t find anything like this then just get good graph paper, 8 squares to the inch, preferably not with red lines.)
– At least one sheet of Fabriano Artistico 140 HP paper, cut to 4- 11” X 15” (I like Traditional White instead of Bright White. If you can’t find this paper, try BFK Rives as it’s soft enough for tooling)
– In addition, bring any interesting papers you have had around and would like to consider experimenting with for the lettering component of the workshop – even things like papyrus, cold pressed, handmade and coloured paper. We will be working out the letters on graph paper, but some may want to do finished exercises on different paper.
– Glassine paper cut into 2- 11” X 15” to protect your gilded pages and small bits for burnishing
– 11” X 15” piece of millboard/davy board/book board (or the sturdy back of one of your sketch pads!)
– One sheet of DUR-ALAR clear wet media film in .004 weight (9” X 12”) *Perhaps the group can order a pad and each can get the one sheet they need… this film is for making our gold charts.
– Old brushes for applying ink to nibs and mixing
– Clean brush for wiping off gold skewings (I like a ½” to ¾” flat brush with a medium-firm edge)
– Good quality synthetic round or pointed brushes in size 0 and 1 for applying gold size
– Small flat brushes for our mosaic designs (synthetic or sable; Size 0 or 1/and whatever you may have)
(The Princeton acrylic flat brushes in Size 0 work well. The Raphael Kerrell in a small size -say Size 2 – tend to split)
– Flat brushes if you want for lettering
– Small, good round sable or acrylic brushes if you want to experiment with building letters up with a brush
– Ormoline Gilding Medium (John Neal via Cornelissen’s/Roberson’s in the UK) If you have Jerry Tresser’s Gold Size that is fine too but we found that the Ormoline worked best for most people)
(Optional: Water Gold Size, John Neal. This is a natural formula for a slightly raised effect in gilding; I will bring some)
– Gold (I will supply what we will use, but if you have any, please bring it along as you can put a sample of it on your metals chart that you will make. I use gold that is adhered to a backing sheet/transfer, but do bring any loose gold that you have)
– Agate burnisher – only if you have one (I will have some)
– Cotton gloves if you can find them. I usually get them at the drug store in the spa section; just check that they don’t contain emollients.
– Fine ball tip burnisher/ tools for sgraffito: old needles, crochet hook, dental tools – whatever you may have to make marks on the gilding
– Magnifying glasses (loupe)
– Artist quality gouache: please have Zinc White, Lamp Black, Ultramarine OR Cobalt blue, Venetian Red, Yellow Ochre. I will have all kinds of things for you to experiment with and I will have these basic pigments.
– Gum Arabic (best to put it in a smaller dispenser bottle or bring an eyedropper)
– 2H or 4H pencil for transferring designs (optional)
– HB Pencil (mechanical is good; I use a .3mm for a light touch but .5mm is good too). If you have favourite pencils for Pressure/Release techniques please bring.
– Flat lead mechanical pencil (1.8mm). They are known in the UK as exam/test pencils, because they are broad enough to fill in boxes on exam papers. https://www.johnnealbooks.com/prod_detail_list/s?keyword=s861
– Eraser/gentle or kneaded
– Writing tools: Pen nibs of your choice from ½ mm to 3 for rendering the mosaic exercises; Speedball B nib (for making round marks on our exercises and lettering); favourite edged nibs ranging from small to large/ Small pen holder with crow quill or very fine nib for ‘sketching’ the letters if you wish/ any tools you want to play with.
– ½” or ¾” removable painter’s tape/artists’ tape; ½” Double-sided tape; ruler; scissors; small cutting mat; X-Acto Knife; water jar, a few palettes with multiple wells*; wipes & distilled water if you have some in a small bottle; ruler; small T-square; compass and any geometric stencils you may have (circles, squares, etc) / scissors / small metal ruler if you have one for cutting out shields for our gilding
– Sakura Microperm permanent ultra fine line pen 01 (this is for using to mark on vinyl/plastic – regular permanent markers don’t work for our purpose. Sakura also makes the Identipen, which does the same job)
– X-Acto blades. #16 is my favourite blade for cleaning up around the edges of gilding.
– Favourite inks
– Slant board (optional)
* S120 – 30. John Neal/ Plastic Mixing is wonderful for our experiments and if you have a bunch, you can save them for the lettering component of the workshop.
The $25 supply fee includes use of 10 different kinds of transfer gold and metal leaf (Please bring what you have at home if you do have, so you can include a sample of it on the metals chart we will make), use of all ground pigments, gouaches, watercolor paints (I do ask that students have Zinc White, Lamp Black, Yellow Ochre and their choice of a red earth and blue gouache), use of ground metals and metallic gouaches, use of my tools, and acetate for tooling metals.