Reflections 2023

Logo designed by Judith Lovell
Editor
Proofreader
Meeting Programs
Workshops
Barbara Qualley
Eleanor Harris
Margaret Kells
Linda Yaychuk
Kathy Bedard
Journal Issue #7
June 2023
Regular monthly meetings
are held on the Second Wednesday of each month from
8:30am to 12:00pm (no meeting in July and August)
Pearmine Room, Exhibition Grounds
(Exceptions are Pot Lucks in December and June)
Executive Meetings
are held on the First Tuesday of each month
at a member’s home from 9am to noon
All members are welcome!
Playtime
is held on the Fourth Wednesday of each month from
9am to 12pm
Pearmine Room, Exhibition Grounds
Annual Membership in Warmland Calligraphers
includes digital copy of Journal.
Dues are
C$45 for Canadian residents and US$45 for US/Int’l.
Warmland Calligraphers of the Cowichan Valley (the Guild) is a non-registered
non-profit group formed to facilitate the exchange of information between calligraphers
and to promote interest in and appreciation of calligraphy as an art form
within the community. Membership is open to calligraphers at all levels of
expertise as well as those with a love of beautiful writing.
Contents of this journal are copyrighted by the authors/artists. Requests for
permission to reprint any part must be made through the Editor. The views of
contributors are not necessarily those of the Executive or members of the Guild.
Members are invited to submit concise pieces for publication as well as to alert the
Editorial Committee to conferences, papers, speeches and other matters of interest
to our readers.
The Editorial Committee reserves the right to make editorial changes in material
accepted for publication. These include such revisions or additions deemed necessary
to ensure correctness of grammar and spelling, clarification of obscurities,
brevity and conformity to the Reflections journal.
3 President’s Message / 2023-2024 Officers and Chairs
4 Yukimi Annand Workshop - Text and Texture
6 September Meeting Program / October Meeting Program
7 September 2022 Galleria - Sign of the Zodiac
10 October 2022 Galleria - Maud Lewis
12 Warmland Library
13 Cowichan Exhibition 2023
14 November 2022 Galleria - Two Contrasting Words
17 2022 Christmas Cards
21 November Meeting Program / December Meeting Program
22 Susan Greenseth - Playful Alphabets
24 January 2023 Galleria - Humorous Quote
26 January Meeting Program / February Meeting Program
27 February 2023 Galleria - Two-inch Alphabet
31 March Meeting Program / Library Exhibition
32 March 2023 Galleria - Graphite
34 Alexander School Childrens’ Poems
36 April Galleria - War
39 April Meeting Programme / May Meeting Programme
40 May Galleria - Collage
43 Learning From Each Other
Contact us at:
www.warmlandcalligraphers.ca
FRONT COVER - Carroll McLaurin
“When life throws you rainy days play in the puddles.”
This quote was written out numerous times over a 12" square watercolor paper and then mounted on a Masonite
board.
A rice paper sheet had the same quote but written with random letters in kind of a circular form. I then tore it up
in the shape of a puddle. When I was gluing them together, the ink started to smudge so I went with the splashing
effect.
2
Since the project was something very new to me with no expectations of a final look, I really had fun. There's a
lot to be said about just going with it and letting loose. I am trying to apply this theory to all my creations now.
Enjoying the moments!
From the Yukimi Annand workshop

As I sit here in the WestJet lounge
waiting for my flight home and having
just been served a nice cold beer,
some Kettle Chips and tempura, I am
very aware of my privilege. I am
grateful for my opportunities and
advantages. Certainly, over the last
year, I am grateful for the wonderful
group of calligraphers that I have
come to know. (Thank you, Pat
Wheatley, for encouraging me to
join).
Walking into the President’s role was
daunting at first. I felt like my past
President would indeed be a wonderful
support which eased my mind. As
it turns out, there are many talented
supportive people in our Guild and on
the executive that have made my first
year as President something that has
encouraged growth in more ways than
I could have imagined. I do love lifelong
learning.
Whether we are beginners or seasoned
professionals, we all have
something to learn and something
to teach. By sharing our knowledge
and skills, we can help each other
grow and improve. I encourage you
to share your new discoveries with us
whether it be with a formal class or a
casual gathering at one of our Playtime
sessions. There is always something
new to discover whether it’s a new
technique, tool, or style.
We have sailed into the “tech world”
even more than we were before. I’ve
had the advantage of taking several
courses through the Zoom platform
that would have been inaccessible to
me before Covid-19.
With the help of a talented executive,
we are fine-tuning our access to
courses, information storage and
retrieval. Our workshop coordinators
continue to expand our horizons to
open a world of learning for us, some
in-person classes and other classes on
Zoom. They are reaching out through
surveys and fillable forms to include
our members near and far.
I am honoured to serve as your
President for my second year. I am so
thankful for the people in our Guild,
the learning it provides for me, and the
opportunity to dive into a world of
creation guided by my talented
colleagues.
(only partly composed with the use of
AI) LOL
“Don’t go through life, grow
through life” Eric Butterworth
Elected Executive Officers
President
Diana Carwithen
Past President/Historian Ruth Rutledge
Vice President/Exhibitions Lucy Hylkema
Treasurer
Carolynn Dallaire
Secretary
Linda Lax/Linda Yaychuk
Meeting Programmes Caroline Morrison
Workshops
Judi Hopewell/Debbie Craig
Membership
Chris Vanier
Technology
Caroline Morrison
Non-Elected Committee Chairs
Email Addresses for Guild Committees
Journal Editor
Librarian
Webmaster
Sunshine
Communications
Playtime
Barbara Qualley
Tricia Field/Cathie Harrower
Diana Carwithen
Carolynn Dallaire
Barbara Qualley
Marilyn Lundstrom
wccvlibrary@gmail.com
wccvgalleria@gmail.com
wccvtreasurer@gmail.com
wccvworkshops@gmail.com
3

Warmland Calligraphers stepped out
of the usual workshop schedule and
held a summer Zoom gathering with
Yukimi Annand. Yukimi is a master
at using a folded pen to create
texture using text and, as her students,
we were enthusiastically looking
forward to learning her techniques.
Folded pens are a fairly new tool for
calligraphers. In 1995 Matthew
Coffin introduced them at the Letterforum
conference in Washington DC.
The nibs are made of metal that has
been folded in half to create an ink
reservoir on one side and a curved
edge on the other. Yukimi is particularly
fond of the radius cut folded pen
manufactured by Tim’s but also
recommends New Horizon folded nibs
and Luthis pens.
We began with exercises to teach us
the variety of lines that can be
achieved with a folded pen. Yukimi
demonstrated how she holds her pen
to get different thicknesses of lines.
The thinnest lines are achieved by
using the tip and thicker ones come
from using various parts of the curve.
It was fascinating to watch Yukimi
create a line of text, rotating her
pen with each mark to get the effect
she desired.
After we practiced creating dots, lines
and curves of various thicknesses, we
turned to capital letters. Our extensive
handouts gave several styles of
capitals and Yukimi showed how to
vary them by putting thick and thin
lines in different places. She
cautioned us to be mindful of how the
letters we create appear. Too many
thick lines in one letter looks heavy so
it’s best for each letter to have a
combination of thicks and thins. In
this way, one letter can have several
different looks depending on where
the thicks and thins are placed.
Yukimi’s advice on creating good
looking letters also applies to creating
words and longer text. Within a word,
consideration should be given to how
the previous letter looks, if it’s heavy,
place a lighter one next to it. The
same holds for placing words
together, it’s best to vary thicknesses
to create balance.
Yukimi’s form of calligraphy moves
beyond merely writing words
and into the creation of texture.
Legibility loses its importance and
artistic considerations become prime.
The overall appearance of the page of
text becomes the significant factor.
Is there an area of main interest, a
focal point? Is it an interesting
composition? Does the page look
balanced? Is one part in harmony
with the other parts?
We were given numerous tips to help
us create an interesting page of text.
For example, since legibility isn’t of
importance, there doesn’t need to
be spaces between letters or lines and
words can bump together. To add
movement, letters can bounce or
swing (slant). When slanting letters,
consider the spaces created and work
to keep the spaces balanced across the
page. Adjustments can be made
when working down the page to
create overall visual interest.
All these factors became clear as
Yukimi demonstrated her techniques.
She showed multiple examples of
different ways to create text. She did
a heavy overall look and then a light
one. She started with small letters,
moved on to large and then did the
reverse. She created a heavy look in
part of a quote and a light one in
another part. She used narrow letters
and wide ones to create other unique
looks. It was a very instructive
demonstration.
At this point, Yukimi introduced her
Italic based lower case letters. She
demonstrated various forms of these
letters; with an uptick they are even
more like Italic, they can be stretched
vertically or horizontally, and they
can have a light look or a heavy look.
Next, we were given a glimpse of
where we could take what we’d
learned. Yukimi gave a slide show of
her work and that of
other calligraphers. There was a
large variety of looks and styles,
some abstract or geometric, some
with letterforms inspired by
nature, some open and some very
formal. She even suggested that if we
work when we’re tired, we might get
an interesting “crazy” look. All the
direction we could take our projects
was very inspiring.
The techniques Yukimi taught us
came together when she demonstrated
how she produces a final piece. She
took a sheet of texture and, considering
design and composition, cropped a
section. Using matte medium she
glued it to a wooden panel, folding the
edges over the sides. Next, she took a
second piece of cropped texture, this
time done on Japanese paper, and
painted the back of it with more matte
medium. The medium made the
Japanese paper translucent so that
when it was applied to the panel, the
underlying letters showed through,
thereby increasing the look of texture.
To add more interest, Yukimi added
touches of colour here and there. The
end result was a beautiful piece of art
with fascinating intricacies of line,
texture and colour.
A very constructive aspect of
Yukimi’s workshop was the critiques
with which she started our second and
third lessons. Our homework had
been to play with thick and thin
letters. She printed each piece
and made written comments on them
as well as made improved versions of
the pieces. She also showed that with
Photoshop one can crop, change black
and white to the reverse and play with
colours. She then e-mailed the
homework back to the creators. They
were very comprehensive and helpful
critiques.
Yukimi’s workshop was filled with
instruction, demonstrations, tips,
techniques and guidance. From her
introduction of various letterforms to
demonstrations of how to use them to
create interesting and artistic textures,
it was non-stop learning.
There will, no doubt, be some
excellent work done following this
workshop.
- Kathy Bedard
4

The text is “Light slips out of any
darkness”
from the poem God's Bones by
Lorna Crozier
The folded pen writing was
photocopied onto Japanese
paper and glued on top of
Arches Text Wove which had
the Sumi brush strokes. Then
glued to an 8” square cra-
dle. A piece of Japanese pa-
per
gilded with 24ct gold was
added. Used an EZA pen.
Lorraine Douglas
Debbie Craig
I really enjoyed playing with the
letters, changing weights and
heights. This has each letter touching
and then another with lots of space.
I regret that I haven’t used it enough.
Cathie Harrower
Jeanne Ralston
I used a folded pen on Arches Text
Wove. “All we are saying is give
peace a chance”. John Lennon quote
Judy Lowood
I used Sumi ink and a folded pen to try and create texture.
Using the pen on its broad edge to create thick lines and on
the tip for thin lines. You had to extend
or spread out some letters, not all, and incorporate thick lines
and thin lines so that there was variety to create texture.
Readability was not an issue in this, just texture.
Jeanette Rawek
We had to create texture by writing
our chosen quote in a variety of ways,
paying attention to thicks, thins and
spacing.
Yukimi had given us many ideas on
how to go about this and this is my
attempt to do a circular piece.
5

The activity at the September meeting
was a presentation by Betty Locke
titled “Less is More”, demonstrating
inspirational ideas on how to use a
pencil or pen to create personalized
greeting cards and envelopes.
Betty used Roman Capitals, which she
declared can be a challenge for everyone,
even those with experience.
During the activity she advised everyone
to be free in the execution of the
letter forms; no use of lined paper,
for example.
The first letter to be examined was the
letter A, stretched from top and
bottom with the heaviest pencil weight
at the top and bottom of the letter with
a waistline in the centre. Betty used
the word ‘entasis’ to describe the
resultant visual effect. This procedure
produced a lightness to the letter, and
the slight curve in the A to become
more artistic. The same drawing g
method with the letter H resulted in a
gentleness and flare to that letter.
Betty encouraged us to form the e
letters with positivity and determination,
and to avoid “hairiness” in the
drawing of them.
It appears that all letters having down n
strokes or straight strokes can be
formed using this technique. Betty ty
also demonstrated how the round d
letters OCDGQ can be formed using g
the same technique. There was a
discussion of how versals, as drawn n
letters, can also be illustrated using
this technique.
The activity concluded with a slide e
show of examples, and discussions of
each slide, some of which were
drawn using a Papermate pen, with a
hint of water colour paint.
- Margaret Kellsls
Betty Locke
During our October program Judi
Hopewell explained some of the
aspects of the Parallel Pen. She had a
number of them on display and for
purchase. The pens come in five
different sizes ranging from 1.5mm to
6mm and each size has a different
coloured cap for easy recognition.
Judi started by unpacking the box of a
pens and discussing the different parts
that come with it. There are two ink
cartridges (red and blue), a nib
cleaner to clean out bits of fiber that
may collect between the two nib
plates and a pipette which is used to
force water through the nib to clean it
when changing cartridges. It also
comes with a very informative brochure
which should be kept on hand
for future references.
The end of the pen is made up of two
parallel nibs. By manipulating the nib
you can create thick and thin lines to
produce any calligraphy hand except
copperplate. One can also use the
corner of the nib for line drawings.
Once a cartridge is empty you can
clean it and refill it using a small
pipette or syringe. Judi recommends
using Doc Martin's Fine Art Watercolours.
While writing you can get a
very effective look by dipping your
nib into a different colour ink. The
colours will change from one to the
other and back again.
Sometimes the edges of the nib
become dull. You can sharpen them
by dragging both sides and the corners
of the nib across Crocus Cloth or
very fine sandpaper.
Judi explained that you could create a
double pointed Parallel Pen by using
a small rasp to grind a groove in the
middle of the nib.
The one drawback of this pen is that
the ink is not waterproof. However,
you can spray your final piece with
a fixative to protect it from the
elements.
Judi's presentation was delightful and
had bits of information that were new
even to we “Old Girls”.
Thank you Judi.
- Linda Yaychuk
6

Do a piece of calligraphy in which your personal Zodiac sign is the focus.
Carolynn Dallaire
Renate Worthington
Renate Worthington
Ruth Rutledge
7

Diana Carwithen
Linda Yaychuk
Ria Lewis
Anne Atkinson
Judy Lowood
Betty Locke
8

Judi Hopewell
Violet Smythe
Marion Craig
Caroline Morrison
9

Using the art and life story of Canadian artist Maud Lewis as your inspiration, create a piece.
Margaret Kells
Linda Yaychuk
Caroline Morrison
Renate Worthington
Ria Lewis
10

Jeanette Rawek
Ruth Rutledge
Jeanne Ralston
Marilyn Boechler
Anne Atkinson
Diana Carwithen
11

Judy Lowood
Betty Locke
Marion Craig
@
The Warmland Calligraphers library started off as a handful of books toted
to meetings in a bag or two. Soon the collection needed a real home and
then-member Olive Cretney’s husband, Val, came to the rescue.
Val built a sturdy, lockable box on wheels. Over the years, it has withstood
the rigors of being moved to our various meeting locations.
It used to look VERY empty, but the shelves are now filled with some
irreplaceable volumes and lots of current magazines. Pick a topic, pick a
hand to study, pick an instructor you admire, and we are sure to have the
book for you!
It seems that it is now time to cull a few treasures and over the next year,
members will have an opportunity to purchase a book or two to add to their
personal collection.
Librarian Cathie Harrower shows off the cart.
12

The theme of the 2022 Cowichan
Exhibition was “Jack and the
Beanstalk”.
Our members, Judy Lowood and
Ruth Rutledge took on the
challenge, resulting in Ruth
winning the Theme Challenge.
24"x18"
Bister ink and watercolours.
I decided to tell the whole story and it seemed to work
as texture. I'd redo the ‘fee fi fo fum’ again using
Yukimi Annand’s thick-thins lettering style.
Ruth Rutledge
To tell the truth the whole thing just evolved in spite of me!
11”X 14”
Watercolour and a C2 nib for
Uncial lettering.
Judy Lowood
13

Choose two words that have contrast in meaning to be the source of a two-word composition.
Use hands, tools and colours that seem appropriate.
Ria Lewis
Renate Worthington
Marion Craig
Violet Smythe
14

Judi Hopewell
Ruth Rutledge
Anne Atkinson
Linda Yaychuk
Linda Lax
Diana Carwithen
15

Caroline Morrison
Betty Locke
Jeanette Rawek
16
Renate Worthington—Part of an 8-page booklet

Ruth Rutledge
Linda Yaychuk
Renate Worthington
Marion Craiag
Marilyn Boechler
17

Judy Lowood
Joyce Gammie
Carolynn Dallairelaire
Judi Hopewellell
Jeanne Ralston
Betty Locke
Anne Atkinson
Denise Rothney
Christine Simpson
Lucy Hylkema
18

Ria Lwis
Caroline Morrison
Linda Lax
Ruth Rutledge
Violet Smythe
Diana Carwithen
Valerie Lynn Hodgins
June Maffin
19

Susan Miller
Susan Lee-Gregson
Tricia Field
20

This month’s activity demonstrated
“Funky Letters with a Parallel Pen”,
and was presented by Guild member
Violet Smythe. The meeting was
attended in person by some
members, and via Zoom by others.
Prior to the meeting, members were
provided with two exemplars, a guide
sheet, and a Parallel Pen information
sheet. Violet stated that the Parallel
Pen can be used as a dipping pen, as
well as a cartridge pen containing the
desired ink.
She recommended Econoline 718
(light grey) placed in the cartridge of
the pen, which when dipped into
other colours produces a softer
colour. Violet also advised members
to make sure the ink flows smoothly
from the pen. The funky letters incorporate
thick and thin strokes, with the
vertical strokes drawn at a 45° angle:
then onto the corner of the nib to
make a tiny hook at the top or
bottom of the letter. A diamond shape
can be drawn on each letter which
provides an interesting effect. Violet
drew all the letters of the alphabet to
demonstrate this technique.
The letters are very attractive and elegant,
with the diamond strategically
placed to enhance each letter.
Violet Smythe exemplar
The diamond can be of different colours
to enhance and add variety to the
text. We were cautioned to make sure
the ink of the letter is dry before add-
ing the diamond shape. We were also
informed that letters could be filled in
with contrasting colours, or shadows
added with pencil, pigma pen or watercolour
pencils. The session ended
with Violet demonstrating how to
form the leaf shapes using one of the
two exemplars. She also responded to
questions from Guild members.
- Margaret Kells
Twenty-six members attended the
Zoom Christmas party meeting which
was divided into four sections.
The first section of the meeting consisted
of a travel trivia slideshow.
There were 15 travel photographs
submitted by members, and the membership
at large were tasked with identifying
where the photographs were
taken. The photographs ranged from
Iceland to the Antarctic, and many
places in between. Some of the places
shown were a challenge to identify,
but afterwards the owners of each
photo enlightened us as to the locale
of the photos, followed by a short
discussion on the circumstances of
their trip.
The second part of the meeting was an
on-line “Spin the Wheel” contest
where each member whose name
showed up when the wheel stopped,
won one of 10 art material prizes, or
one of three books.
The third section of the meeting consisted
of a presentation by Caroline
Morrison of ‘Gold Christmas Trees’,
demonstrating the use of black paper,
oblique copperplate pen and gold
paint. A list of requirements and
instructions were sent out prior to the
meeting. Caroline also showed a video
of the technique that she was demonstrating,
with members following
along. It was agreed that the gold trees
drawn on black paper were visually
quite outstanding.
The last part of the meeting was a
slideshow of 27 Christmas cards
submitted by members, with each
member commenting on their personal
submission. The slideshow illustrated
an amazing variety of card designs,
and showcased the many talents of the
individual Guild members.
- Margaret Kells
Caroline Morrison
21

Two playful alphabets were brought to
Warmland Calligraphers in the Fall.
They arrived via an entertaining Zoom
workshop with Susan Greenseth. In
the class Susan led us through the
history of the hands, gave instruction
on how to create the letters and
provided a slide show filled with
expressive examples of the letter
forms.
Susan was intrigued by calligraphy as
a child after seeing a newspaper
masthead done in Blackletter. She
wondered how the interesting shapes
were created. The answer to this came
many years later when she signed up
for a class with Alan Q. Wong.
He taught her how to hold a pen and
maintain the angle to produce thick
and thin lines. From there she went on
to learn many formal calligraphic
hands.
A turn came in Susan’s calligraphy
practice when she stumbled on the
book Calligraphic Alphabets by
Arthur Baker. The book showed her
there is a lot “out there” besides the
traditional hands she had been using.
It was an introduction to the way pen
manipulation can create new shapes in
letters. This is what Susan planned to
share with us in the workshop.
Equipment for the class was fairly
simple. For a pen we used a 6.0 mm
Pilot Parallel Pen. Because the ink
that comes with the pen is not lightfast,
Susan suggested using a higher
quality ink such as Walnut ink or Bister
Ink. For paper she suggested Dot
Matrix printer paper which takes ink
well and provides built in guidelines.
Another suggestion was to print guidelines
directly onto Gilbert Bond paper.
We began our instruction with the
letters in the first of two alphabets
from Susan’s exemplar sheets. We
worked at a height of 2 pen widths and
held the pen fairly upright. Susan
demonstrated how to rotate the pen
steeply to create width variations,
sometimes using the corner of the nib
for fine lines. She explained that the
angle of the pen to the paper at the
start of a stroke will affect the shape of
the stroke at its end. With each letter
she illustrated how to turn the pen to
create the letter shape. Some letters
22
could be made in one stroke and others
two. The “g” and “y” called for a
particular push stroke at the end of the
descender and the dot on the “i” was
created by spinning the pen slightly.
Her tip for fashioning a well-formed
letter was to watch the counter space
being produced.
Susan indicated various additional
things to keep in mind. She discussed
spacing between letters and mentioned
that we can vary the x height
and the length of ascenders and
descenders. Also, a serif can be
added. The alphabet she gave us was
intended as a starting point from
which we could make personal
variations.
Betty Locke
We ended our first class with a slide
show showing the ways Susan has
used calligraphy over her career. One
example was done with little space
between letters and between lines, the
purpose being to create texture.
Another showed a pattern produced
by using tall ascenders all pointing
toward the middle of the page. She
used the pen to create non-letter
shapes and quite often included dots,
whether accidental or purposeful. To
produce changes in colour as she
moved along a word, she used light
green ink in her pen and then dipped
it in Bister inks of other colours. We
received a lot of good ideas to include
in our homework assignment.
Our second class promised to be as
interesting as was our first. We began
with a slide show of our homework.
Paying attention to each individual
piece, Susan gave positive, helpful
comments. For example, she suggested
a “t” could be dropped below
the baseline to tuck it under the next
letter. She complimented those who
combined thick lettered words with
words done in thin lines. She was
pleased to see that some of us had
played with the letters by altering
them. There was a lot to learn from
the variations the others had
produced.
After a short review of the first
alphabet, we moved on to a second
one. This was a fun hand suitable
for writing the name of a candy
or a baby shower invitation. Susan
demonstrated each letter. Some
strokes started with a pen angle of 70
degrees, some started flat and others
were tapered. She also gave us some
alternative letter forms. Like the first
hand, this one was meant to be
played with and modified to produce
variations.
A slide show of Arthur Baker’s work
showed us the innovative ways he
used calligraphy. Susan used this as
a springboard for discussion on how
to adapt letters to our needs. She
showed us variations on “d” and “f”
and how to form flourishes. Because
Baker didn’t create any numerals,
Susan showed us the ones she had
devised. For these her tip was to
wiggle the pen when making hairlines
to add more character.
Susan was generous with ideas on
how to add pizazz to our work. For
example, since the letters have many
broad strokes, a decorative effect can
be achieved by drawing a white line
through the stroke with a white
Uniball Signo pen which is very
opaque. Another option is a Pilot
Juice Up 04 gel pen which will give a
fine line for creating decorative
strokes. Also, an outline or a shadow
can be added to letters and 3D Nuvo
Crystal Drops can be applied as well
as glitter from a Wink of Stella
Glitter Pen.
By the close of our second day, we
were well versed in the unique hands
Susan had taught us. With her good
humour and skilled teaching style,
she moved us to see the fun that can
be had with these two alphabets, how
they can be modified to create variations
to suit our needs. It was a very
enjoyable workshop.
-Kathy Bedard

Judy Lowood
Violet Smythe
Ruth Rutledge
Kathy Bedard
Carolynn Dallaire : One of the December prompts for Scribbled Lives was to create wrapping paper. I procrastinated for
awhile...... then using one of our practice paper sheets, lettered, many times, what I'd done for homework for Sue. The
second photo shows two examples of how I used the paper. When something is scanned, its easy to make a document and
reproduce. Actually looks better smaller.
23

Pen a silly or humorous quote.
Linda Yaychuk
Mieke van der Vliet
Joyce Gammie
Anne Atkinson
Violet Smythe
Ruth Rutledge
24
Diana Carwithen
Carolynn Dallaire

Caroline Morrison
Marion Craig
Renate Worthington
Judy Lowood
Betty Locke
Jeanette Rawek
25

Our January program on the Akim
Cursive hand was presented by
Carolynn Dallaire.
The hand was created by a German
named Hans Joachim Burgert who
felt that forming these letters mimicked
the beating of the heart.
Carolynn discussed the overall
impression of the lettering. It is a
monoline with no thicks or thins.
Contrasts are created with tiny bowls
on some letters and swing strokes on
others. The bowls are only about
three millimeters in x-height. The
extenders are about four times the
x-height. They have to be long in
order to create contrast. Capitals are
large and make a statement. Extending
the ascenders and descenders can
create difficulties when doing a
layout.
Because the lower case letters are so
small they pop when the descenders
and ascenders are added. Ascenders
can start at the bottom line and curve
up. A dot is placed beside the head of
the q and g. The size of the swing
strokes depend on the amount of room
between the letters or words. Swing
strokes need to be long in order to
make a statement. The diagonals on
such letters as the a or s should be
about three times the x-height.
Carolynn guided us through the
creation of each letter followed by
using them in words and phrases.
Carolynn Dallaire
The finished pieces looked like work
done in shorthand. This is not the
easiest hand to read. Carolynn
suggested that we play with the letters
and try to make the words swing.
Carolynn held our attention through
the program because she made it so
interesting.
Thank you Carolynn for a very
enjoyable experience.
- Linda Yaychuk
The February program called
Zenspirations was presented
through a video featuring Joanne
Fink.
Joanne decorates Roman capitals
using zentangle patterns. Members
were provided with copies of
her letters and patterns to use
while creating their own letters.
Joanne started by drawing the outline
of an A stressing that the parts
of the letter should not be joined.
More lines were added around the
letter and crossed each other at
intervals. Patterns were then added
between the lines. She also added
rounded elements as well as tiny
circles. For the bottom of the
letter, Joanne likes to add weight
by darkening the lines and using
larger designs. The different
designs should be balanced within
the letter and the same two designs
should not lie next to each other.
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Joanne then started adding colours.
She uses Sakura's Jelly Roll,
Mikron, Stardust, Metallic and
Pigma pens. When adding colour
don't put the same colours next to
each other. Balance them by placing
them on opposite sides of the
letter. You also want just touches
of colour. You don't have to fill
the whole letter with colour or designs.
You can gradually change
from one colour to another within
a pattern. Designs such as hearts
can be dangled from lines dropping
from the top of the letter or
from flourishes. Once the letter is
coloured, go over the lines again
with your Pigma pen.
These decorated letters can be
used to create unique cards or for
adding a new element to the front
of an envelope.
Thank you to Caroline Morrison
for organizing a very enjoyable
program.
- Linda Yaychuk
Illustrations by Joanne Fink

Tiny Alphabets: Work in a tiny 2-inch square and create an alphabet with one letter of the alphabet featured as a focal point.
Letters MUST be in alphabetical order. Your final piece may be just one tiny square, or it might include several 2” squares.
Carolynn Dallaire
Diana Carwithen
Debbie Craig
Renate Worthington
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Ruth Rutledge
Linda Yaychuk
Judy Lowood
Christine Ahmad
Marion Craig Caroline Morrison Joyce Gammie
28

Marilyn Boechler
Judi Hopewell
Violet Smythe
Mieke van der Vliet
Geri Arkell
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Betty Locke
Linda Lax
Anne Atkinson
Jeanette Rawek
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Our Guild founder, Betty Locke,
shared her Travel Journals with us.
In 2004 Betty attended a workshop
on constructing journals, but was not
immediately interested in journaling
until she was given a blank journal
by a friend, and encouraged to fill it
in. This whet her appetite for
journaling.
The presentation commenced with a
slideshow of some of Betty’s work,
and included exhibits from nine of
her many journals. Betty and her
husband have travelled extensively
throughout the world, during their
lives together, and the journals are a
testament to the incredible adventures
which they experienced.
Betty showed and explained the
structure of the journals, which were
made by her friend annually, each
journal being 6x6 inches in size
using Arches Text Wove paper, and
sporting an interesting cover. Betty
carried a simple amount of equipment
for journaling while travelling
– pigma pens, pencils, paints, glue
stick and scissors.
The illustrations and text on each
page of her journals were completed
daily in approximately two hours, the
ideas taken from experiences of that
day while the ideas were fresh in her
mind.
She occasionally used versals in the
text which further enhanced the artwork.
The illustrations are quite
beautiful, and extremely interesting.
That Betty could achieve what she
did in two hours at the end of each
day is a tribute to her artistic skill
and imagination.
It was a most enjoyable presentation,
and one which should stimulate the
interest of other Guild members to
undertake journaling themselves.
- Margaret KellsK
Betty Locke
During the first two weeks of March Warmland Calligraphers exhibited thirty-six
pieces of calligraphy in the Duncan Library located in the Cowichan Community
Center. Fifteen calligraphers provided pieces for the exhibition.
- Linda Yaychuk
Ruth Rutledge
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Working ONLY in graphite, create a piece that celebrates National Pencil Day.
Jeanette Rawek
Mieke van der Vliet
Betty Locke
Caroline Morrison
Judy Lowood
Debbie Craig
Ruth Rutledge
Linda Yaychuk
Geri Arkell
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Marion Craig
Judi Hopewell
Marilyn Boechler
Carolynn Dallaire
Anne Atkinson
Violet Smythe
Linda Lax
Renate Worthington
Charlotte Whiteley
Diana Carwithen
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Margaret Kells
Kathy Bedard
For over 15 years our Guild has been
creating calligraphic art using words
from Alexander School students. It has
happened in various ways, but for the
last five years a classroom of Grade
One and Two students (6- and 7-year
olds) have been interviewed by their
teacher about their feelings and what
they imagine they will be when they
grow up.
The interviews are then given out to
our volunteer calligraphers at the
January meeting and they have until
the February meeting to create a piece
of bright calligraphy, featuring the
child’s name prominently, and using
the children’s words. These pieces are
framed and hung in Sunridge Place
until May. They are always a popular
display, and enjoyed by the staff and
the residents. Our thanks goes to a
generous calligrapher who donates the
money to purchase the 8” x 10”frames.
We deliver the framed pieces to the
classroom before Mother’s Day so that
they can become gifts for the students
to give to their mothers. Before Covid,
we would also arrange for the calligraphers
to come and meet ‘their’ student
over juice and fruit when we delivered
the pieces. We are hoping to start that
tradition again because it is so much
fun to meet these children.
This is such a positive experience for
so many people, of so many ages, and
I am so proud of Warmland Calligraphers
for doing this year after year.
Thank you!
- Lucy Hylkema
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Caroline Morrison
Ruth Rutledge
Debbie Craig

Joyce Gammie
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Create a piece that speaks of war.
Betty Locke
Jeanette Rawek
Ruth Rutledge
Judi Hopewell
Diana Carwithen
36

Margaret Kells
Carolynn Dallaire
Judy Lowood
Joyce Gammie
Renate Worthington
Anne Atkinson
37

Marion Craig
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Caroline Morrison

The April programme “Collage on
Canvas” was presented by Charlotte
Whiteley. As with previous meetings
the presentation was attended in
person, or viewed via Zoom.
Charlotte stated that historically
collage dated back to the invention of
paper, and Pablo Picasso was a wellknown
modern collage artist. She
spoke about the composition of
collage, by selecting geometric shapes
along with colours of choice, or using
whimsical or representative ideas, or
Monet-like collages using scraps of
images pasted on to create a scene, or
abstract ideas with no deep meaning.
Charlotte underlined the importance of
supporting the canvas from underneath
and priming the canvas before
applying paint or glue to it. She gave
examples of a variety of items which
could be used to build a collage: cloth,
beads, papers of interest, items from
nature, cheesecloth, string etc. She
added that the collage could be further
enhanced with coloured pencils, stencils,
gold medium, texture mats and
calligraphy to name a few. She
emphasized sealing each layer with a
matte medium, allowing each layer to
dry completely before adding the next
layer, and sealing the finished piece.
We also learned which glues work
best, and were given a recipe for
homemade Gesso.
Charlotte showed examples of
collages she had done in the past, and
added that the opportunities for
creativity are endless.
Following Charlotte’s presentation, tion,
Caroline Morrison gave a brief
informative talk on mounting artwork
on a cradle board, or wooden painting
board, for exhibition purposes. She
gave information on where to
purchase cradle boards, how much
fixative and varnish to use and when
to apply each; also how to seal the
artwork by finishing it with varnish or
Gamblin wax, which can then be
polished. Caroline also gave
information on the type of hangers to
be used, where to purchase them, and
where to place them on the cradle
board to satisfy exhibition require-
ments. - Margaret Kells
Lucy Hylkema presented a slide show
of her trip to Britain and discussed the
Uncial hand.
While in Britain, Lucy and her husband,
Leo, traced the route taken by
St. Cuthbert in 664 from Melrose,
Northumbria in Britain to Lindisfarne
in Ireland. This route today takes you
through towns and alleys which were
once part of the Roman roads. It also
passes many cathedrals that have been
dedicated to St. Cuthbert. Once in The
Borderlands, Lucy noticed that many
of the shops and road signs still use
the Uncial hand.
St. Cuthbert led a life of caring for
people and animals and was thought to
have created miracles. In later life, he
was appointed the Bishop of Lindisfarne.
When his body was transferred
from Lindisfarne to Durham Cathedral,
they found a small gospel book
the size of his hand which was written
in Uncial. It is one of only a few
books to have survived from this time.
The letters are only 2.5mm high which
is very unusual as most books were
written with letters 5mm high and
recorded in large weighty tomes. As
the books got bigger, they started to
record the words in columns which
allowed light within the writing since
churches were quite dark and it was
hard to see the scripts.
Lucy discussed and demonstrated the
Uncial hand noting that there are
many forms of Uncial depending on
the region where it was used. In
Ireland they use the half-Uncial. The
letters have short ascenders and
descenders and are made up of
circles and lines. It is an alphabet
without upper- and lower-case letters.
Lucy demonstrated each letter as we
recorded them onto lined sheets that
Lucy had provided.
Lucy's presentation was both informative
and enjoyable. Her enthusiasm
when describing her experiences in
Britain made us wish we were there
too.
- Linda Yaychuk
1300-year-old St. Cuthbert Gospel
39

An element of collage must be included in your calligraphic piece.
This may be as simple as a “paste on” or may be many layered and intricate.
Renate Worthington Ria Lewis Carolynn Dallaire
Mieke van der Vliet
Caroline Morrison
Joyce Gammie
40

Marilyn Boechler
Marion Craig
Betty Locke
Barbara Qualley
Anne Atkinson
Jeanne Ralston
Diana Carwithen
41

Ruth Rutledge
Violet Smythe
Linda Lax
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Linda Yaychuk

1/Betty Locke
3/Betty y Locke
Betty Locke and Carolynn Dallaire
belong to a private Facebook
group similar to our Scriptors.
Once a week, a prompt is unveiled
and members create their piece
and upload it to the group page
where other members can offer
insightful praise to the accomplishment.
The layouts are achievable for all
levels of calligrapher, yet there is
strategy in letter design and placement.
1 - Flower petals form the letter
“O” and the horizontal line
stretching in the attribution make a
splendid grounding.
2 - December is floating down the
page and you instantly see snow
with the addition of dots.
3 - Falling leaves, perfectly positioned,
complete the visual.
4 - The bold strokes are known as
fractured letters as only parts of
the letters are shown. Consider
them clues that draw you in to
read the text.
5 - The collage strip draws your
eye to an otherwise calm page.
Weighted and shaded lettering
keeps you engaged.
6 - The harmonious background
and collage draw you in, only to
find lettering you cannot read! Do
we need to? The asemic lettering
is left for the each reader to
fill in and interpret. ret.
2/Betty Locke
4/Carolynn Dallaire
5/Carolynn Dallaire
6/Carolynn Dallaire
43

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