My Ideal Calligraphy course

I stared writing a teaching book in 1993, then life took over and  we moved 1700 km away and I lost touch with that realm and outgrew the idea. It was going to be an all-colour-all-handwritten and illustrated book. Here is an early illustration: (and a detail of the 15mm plate from the bottom row) I just could not resist all little extra meticulous details - very much under the influence of Sarah Midda.

19 years later:
This is my ideal course if it was a weekly 3-4 hour workshop. Artwork is introduced gradually as part of the course but ideally one would be running three strands in a full-time course: disciplined lettering, gestural freedom and design principles.


This is a syllabus of 3-6 month modules, depending on intensity of study.
1) Uncials
i) because it is the most accessible of all edged pen alphabets.
ii) to enjoy the thrill using an edged pen.
iii) to learn to do clean sharp lettering, good circles and straight verticals.
iv) learn the basics of layout and the terminology of the calligrapher ("x" height, interlinear spacing etc).
v) Scriptorium or continuous writing for rhythm
vi) as a historical base students would analyse the Stoneyhurst Gospel c.AD 698, British Library
vii) for inspiration: Lindisfarne Gospel and the Book of Kells (maybe Greek Uncials)
viii) for artwork: I would introduce Celtic knots and copy some of the Celtic creatures.


This would be followed by
2) Gothic
i) because it is an accessible edged pen alphabet.
ii) to practise straight verticals, rhythm and inter letter spacing.
iii) to enjoy the patterns of black and white, letters, spaces and the abstract elements of texture.
iv) to see how a different approach to layout and space is required when using a different alphabet.
v) Scriptorium or continuous writing for rhythm
vi) as a historical base students would analyse The Bedford Hours and Psalter, British Library, late 14thC
vii) for inspiration: Erik Lindegren and Rudolf Koch.
viii) for artwork: I would do Gothic patterning using the diamond as a base. This might be a good moment to introduce illuminated or decorative capitals
I would also introduce my Gothic birds to loosen up penmanship and freedom.
NB: this course would not have any Gothic capitals as they are not historical. Students would use uncials - see this detail from Erik Lindegren:

This is from "ABC" by Erik Lindegren 1975. I would not have such flourished Uncials but I really like the way there is no interword spacing when there is a capital letter, The space within the capital suffices. These Gothic letters are rather more elongated but very handsome! Lindegren also gives a beautiful exemplar of Gothic Caps - quite the nicest I've seen, but we are learning Gothic for rhythm and Uncials will suiffice!

Of course, I'm itching to get on with putting modern stuff into my course, but the basics and discipline simply has to be there first!  Tomorrow I'll run through the rest of my syllabus. Its quite nice to design an ideal programme. In reality I like teaching people who already  have the basics of lettering skills and I adopt a modern approach with a strong art-based element rather than formal calligraphy.

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Starting Calligraphy

Talking about learning handwriting has made me reflect on my background, learning and teaching. I thought I'd share this with you as well as run a short series on my ideal calligraphy syllabus, my love for Italic and expressive lettering.

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...