When I began calligraphy as an adult, in 1983, the idea was to get as many styles under the belt as possible. Our teacher taught Foundational in 6 weeks and then in the next 6 weeks we learnt Uncials, Gothic, Compressed Gothic, Copperplate and Italic. Whew. Actually I was poorly for Copperplate so missed that. Despite the dubious syllabus, this teacher was a brilliant calligrapher herself.
Later as a calligraphy teacher in the 80's my course was similar (minus Copperplate) over a far longer period.You'll see how I have subtly changed this approach. I also feel quite embarrassed about the exemplars I produced during this time.
In the 90's, in my own work, I was looking Koch, Neugebauer, Burgert, Letter Arts Review (LAR), mark-making, pointed brush lettering and Arthur Baker's pen twists. I learnt craft-bookbinding. In South Afrcia we were isolated and largely self- taught but had annual workshops by the best teachers from the UK, USA and Europe, so there was a balance. I had courses with Ewan Clayton, Brody Neuenschwander and Dick Beasley.
Because of our isolation as calligraphers we got together and studied LAR and went over the courses we'd been to, sharing them. I learnt a computer graphic programme and was very influenced by a book by Martin Andersch, whose teaching is amazing and freeing.
When I came to the UK in 1998 I had to back-pedal a great deal to learn some basic and traditional skills. and did an intensive CLAS Italic course with Gaynor Goffe and Traditional skills and Gilding with Patricia Lovett. I did the Advanced Training Scheme through the SSI, became a CLAS fellow, CLAS tutor and Full member of Letter Exchange over the next 8 years.
I am now at a new turning point where I am being as open as possible to where my heart takes me in my creative ventures. This is partly why I am blogging - to help me find and voice my philosophy of calligraphy, art and creativity. Tomorrow - my ideal calligraphy syllabus begins...
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