Intermediate to Advanced
$5 materials fee
Sherrie Lovler learned calligraphy in high school and has continued studying and advancing her art since then. Her two most important teachers have been Hermann Zapf, who taught her about precision and Dick Beasley, who taught her about freedom. She has a BA in Studio Art and has been teaching for over 30 years, including accredited classes at Northern Arizona University, International Calligraphy Conferences, Ghost Ranch, La Romita School of Art in Italy, and Sonoma Valley Museum of Art. Her work has been published in The Art & Craft of Hand Lettering, Letter Arts Review Annual Juried issues, Bound and Lettered, and many other books and journals. Her abstract paintings have been shown in solo exhibitions and many juried and group shows. Her newest book, On Softer Ground: Paintings, Poems and Calligraphy, won a Gold Award for Most Outstanding Book Design of the Year for 2016 from Independent Publishers IPPY Awards. Her work can be seen at www.artandpoetry.com.
“Painting is silent poetry, and poetry is painting that speaks,” said the classical Greek lyric poet, Simonides of Ceos. But can we capture the silence of poetry in our paintings without being able to read the words? By connecting with a poem at an innate level and integrating that with concepts of abstract art, your calligraphic expression can expand beyond where you have ever thought it could go.
Join Sherrie on this journey of exploration and innovation that incorporates the strokes and gestures of letters, flourishes, use of different tools and materials, meditation, and inward reflection. The more we can reach our intuitive self, the more honest and alive our paintings will be.
Using poetry as our starting point, we will discuss what elements can help abstract paintings have an intrinsic connection to the poem. This includes the quality of line, size of strokes, shapes, direction of energy, color, value, and texture. We will use sumi ink and watercolor to do exercises in calligraphic mark making, asemic writing, choosing colors, value studies, and cropping the page.
If your next step in calligraphy is to take it beyond what you thought you were capable of doing, if you are looking for greater fulfillment in your work, if you want to have fun and make exciting discoveries, and if you are ready to relax the standard definition of what calligraphy is, then this is the class for you. You will leave this class with several paintings ready to frame and new inspiration to guide you.
• Arches 140 lb. hot press paper, 4 sheets
• Arches Text Wove paper: 2 sheets 20 x 25 -or- 1 sheet 25 x 40
• Black Canson or Strathmore paper, 2 sheets
• Strathmore 300 series drawing paper, 50 sheet pad of 11 x 14
• Flat brushes, 1″ and 2″ wide
• Bamboo brush, #10 or #12
• Pointed brushes, variety of sizes
• 2” natural bristle brushes (house painting) or foam brushes
• Mixing brushes: cheap, synthetic (white nylon), #4 or 5 round (Loew Cornell #795 round)
• Favorite pens, variety of sizes
• Moon Palace sumi ink
• Walnut ink
• Watercolors, M. Graham & Co. or Winsor & Newton, 1 or 2 tubes each: red, violet, blue, green, yellow, orange
• Breakable utility knife plus cardboard to cut on
• Palettes (at least 2 with 10 wells)
• 2 yogurt style containers for ink
• 2 or more flat-bottomed plastic containers for mixing washes
• Water containers
• Notebook and pen for notes
• Glue stick
• Artist tape or masking tape
Optional: color pencils, pan pastels, NuPastels, 3-4 of your favorite poems, folded pen, or unusual writing tools you have.