Newsletter Team Logo designed by Judith Lovell
Editor Assistant Editors
Linda Yaychuk Ria Lewis, Alane Lalonde
Photo Editors
Jane Taylor, Alane Lalonde
Proof Readers
Barbara Qualley, Denise Rothney
Regular Contributors
Gwyneth Evans, Lucy Hylkema, Pat Wheatley Charlotte Whiteley, Margaret Kells, Lenore Le May
Newsletter Issue #59 November 2014
Distribution
Regular monthly meetings
Cover Artists
are held on the Second Tuesday of each month from 9am to 12:00pm (no meeting in July and August) Exhibition Grounds Duncan, BC (Exceptions are December and June)
Muriel Heggie Front - Betty Locke Back - Judi Hopewell
Executive Meetings are held on the First Tuesday of each month At Linda Yaychuk’s home from 9am to noon All members are welcome!
Inside this issue:
Playtime is held on the Fourth Tuesday of each month from 9am to 12am Cowichan Exhibition Grounds Duncan, BC
Membership in Warmland Calligraphers includes three digital newsletters. Annual membership dues are C$30 for Canadian residents and US $30 for US/International. Warmland Calligraphers of the Cowichan Valley (the Guild) is a 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 newsletter 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 Editor or of the Guild. Members are invited to submit concise pieces for publication as well as to alert the Editor to conferences, papers, speeches and other matters of interest to our readers. The Editor 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 newsletter style. Contact us at: P.O. Box 2, Duncan, B C, V9L 3X1 Canada http://members.shaw.ca/warmlandcalligraphers
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2
General Guild Information
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President’s Message / Front Cover Artist
4
Potluck Meeting in June
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May Program
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May Galleria
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Library
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Thomas Hoyer
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Tool Talk/Sunridge
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September Program
12-14
September Galleria
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Playtime
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Upcoming Events
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Letter from the Editor
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October Program
19-21
October Galleria
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Exposé
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Back Cover Artist
President’s Message Submitted by Lucy Hylkema ….for richer, for poorer, in sickness and in health….
Sometimes I think that passage refers to our Guild. I have chaired other volunteer meetings before and I know many of our guild members belong to other organizations too, but Warmland Calligraphers is very special to me. It could be because I started when I was pregnant, it could be because I have been a part of it since it began, and it could be because we can disagree and still work together, which is something I value greatly. My hope is that our members can all find something special about our Guild. Many members join because a friend or neighbour already belongs. Many others join after taking Eldercollege classes run by one of our members (Betty, Marilyn L. and Marilyn B. seem especially good at encouraging new calligraphers to join). And some members are brave enough to notice our exhibitions and phone us. I have been so impressed by how many of
our new members have volunteered for committees (I am also impressed how many stalwart, longtime members do too but I talked about you in the last President’s Message already). I am starting to realize how much knowledge is in our Guild and how willingly it is shared. Artistically, this generosity has always been obvious in Gallerias and classes, and as I learn more about our members I realize how talented people are in other areas as well. I also see knowledge used in a practical way when it comes to setting up exhibitions, or setting up computer programs, or even setting up coffee. And in a personal way, the support we offer each other when the going gets tough is an important part of what makes our Guild work. One thing I have noticed is that the members who continue being members are usually people who have become involved in some way. It is one of those truisms that "the more you give, the more you get". This is
not going to be a push to volunteer for the Executive (I am saving that for the next newsletter!) but an acknowledgement of people who do the Gallerias, put their pieces in our exhibitions, help set up for meetings, make snacks, offer classes, share supplies, volunteer, and just generally "show up". So thank you for showing up.
Front Cover Artist– Betty Locke I was frustrated as I had finished what I had originally planned but found that I had misquoted the Nietzsche quotation. Because it was getting close to the meeting I needed to get something done. (It is my policy to “put my money where my mouth is”) and even if I am not able to attend the meeting I feel I must have a piece which answers the challenge. I found an old piece of Yupo, an art paper which has a very slick surface. I decided to use that as my base and for the challenge of using things that you do not use, I found several packages of things given to me at various conferences. I ripped those
open and used an orangish felt pen (Zig Fine and Chisel) which had two different ends. (I am not in favour of felt pens at any time so this was a break out for me). They seemed to work on the Yupo. There were two other felt pens—a green brush pen (Zig Clean Colour Real Brush) and a Crimson Lake Prismacolour felt with two ends and a Pentel Stylo, a sort of strange felt end supported by white plastic. This was black. I used a black felt pen for the main lettering. To add to the chaos of the felt pen work I added some sprays of fluid acrylics (inherited from Marilyn Silver) and some Golden Acrylic, one Sepia and one gold which were
among the gifts received at conferences. I found to my displeasure that I could not erase some of my pencil lines on the Yupo so there are traces of my planning in the word Nietzsche. Yupo is challenging but it lends itself to many substances and resists many of them to the point that you get surprises when you use it. All very fitting for the quotation I think. 3
Summer Potluck 2014
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Submitted by Alane Lalonde
May Program – Monolines Submitted by Margaret Kells We used pigma pens, pencils, or ballpoint pens - any tool to make the letters simple and monoline. We began with Roman letters, and enhanced their simplicity by giving a little bit of heaviness at the top and bottom of each stroke (a technique known as ‘entasis’.) We then moved into using letters from other hands to add interest to the words we were designing.
letters, and make the letters dance up and down so that they don't end up all being on the same line. Betty's final advice was to be as elegant as possible in the interpretation of the letter forms. Do not be afraid to mix forms, but do it with panache! As with all Betty's classes, this was most enjoyable and very informative.
Betty advised that letters should be an
Betty Locke using Elmo to demonstrate monolines.
The programme at the May meeting was presented by our resident Guru, Betty Locke.
Betty aiding Linda Yaychuk with her monolines.
Just look at that concentration.
ideal one inch in height, that we should keep the letters close together to make the words more readable, and that there should not be too much overlapping of letters. It was further suggested that we vary the size of the
As testimony to the fact that people were enjoying themselves, Betty had to rein us in somewhat, but in spite of the hilarity a lot was learned. Once again, thank you Betty for sharing your seemingly endless knowledge with us!
Executive Meeting From left to right: Betty Locke, Pat Wheatley, Marilyn Lundstrom, Barbara Qualley, Lucy Hylkema, Jane Taylor, Mary Nelson, Ria Lewis, Eleanor Harris, Marilyn Boechler and Joyce Gammie.
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May Galleria Submitted by Jane Taylor Our May galleria provided a two-fold opportunity for our members. The theme for this galleria was ‘Can You Dig It?’, and was also the theme for the fall Cowichan Exhibition and Fair. Members have been encouraged to enter their piece in the Fine Arts Division. We are reminded of how lucky we are to live in an area which provides such wonderful bounty. As always our members have demonstrated their incredible creativity and calligraphic skills.
Judy Lowood
Charlotte Whiteley
Betty Locke
Judi Hopewell Ruth Rutledge
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Linda Lax
Margaret Kells
Barbara Qualley Ria Lewis
Judi Hopewell Marilyn Boechler
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Jottings From the Library Submitted by Pat Wheatley Here are a few highlights from periodicals that arrived since I last wrote.
mounted in the same way. The 21 artists contributing, show amazing diversity and imagination.
Letter Arts Review Sept 2014 is the annual juried report. The judges tell how selections were made and why some pieces were rejected, such as a lack of originality or maybe a design factor not obvious to us! The successful entries are a feast for the eye. Submissions were accepted internationally. One of the winners was former Warmland member, Georgia Angelopoulus.
The June issue from the Kelowna Calligraphy Guild contains great instruction on writing in a spiral (the Archimedean principal), and the May issue from the Fairbank Calligraphy Society has a report on the Georgia Angelopoulos and Miles Lowry collaboration – “Marks of Devotion” Also in this issue, our member Anne Atkinson talks about being inspired by Annie Cicale.
Bound and Lettered July 2014 has an article on pseudochrysography. For the ignorant, such as myself, this is writing in gold that is not gold! In other words, options and methods to use when real gold is too expensive. Other articles are on the South Korean art of creating Hanji paper; decorating blocks of wood; the making of art books from your past failures, and writing with chalk and with a syringe. How’s that for an eclectic mix! This issue concludes with a project using the poetry of Oregon writer, William Stafford, done by the Portland Society for Calligraphers.
The Japanese art form of Chigiri-e using hand-made paper torn to create images and Zentangles is featured in Edmonton Calligraphic Society’s June issue together with an introduction of Carrie Imai’s cuneiform hand and her rules for pen preparation and care. Carrie always imbues her workshops with wonderful enthusiasm!!
The Broad Edge, Alphabeas Calligraphy Guild, Langley, featured a Barbara Close copperplate workshop, starting with traditional form and proceeding to contemporary and on to using colour. This workshop was followed up in the summer with a get-together to pursue techniques learned. A good idea! The same group produced a 20th anniversary issue of their magazine, full of memoirs and achievements of their members. The Langley group always hand write their periodicals in a variety of scripts. In May, the Bow Valley Calligraphy Guild mounted a two day show. All 78 pieces were the same size and 8
West Coast Calligraphic Society’s Illuminations is chock full of different “stuff”: workshops on architectural writing, italic, writing other than in a straight line, hand carved stamps and a coverage of “The Lyrical Word” and a report on journaling. Also, a group of ladies went to Ditchling, Ewan Clayton’s home in the UK, to study the work of David Jones. Wow!! Write-On Calligraphers (Edmonds, WA) reported on their annual miniconference Letters of Joy, and the annual Graceful Envelope contest. This issue bounces with energy! Most of these periodicals are not carded and you may take them on the honour system. They have a wealth of information and fun within their covers. Each one has something of interest, even the old ones! So please grab a handful! Every year or so we have a sale (cheap) but the more recent issues can be found, by year, in binders in our library stack. Our own Warmland newsletters are kept, by
year, in their own binder and if you are a new member, it might be interesting to see some of the issues of times past! Books in our Library Tips gleaned from Charles Reid’s Watercolor Solutions: Spray your palette with a mister half an hour before you start. Arrange colours on your palette in colour order separating blues, yellows, reds and earth colours in sections. Keep them in families and leave spaces for mixing. Use small amounts and always wash new palettes to remove film, wipe with paper towel and avoid scented tissues. Understand the true value of colour. Using Payne’s Gray, experiment from dark to pale starting with a thick puddle and adding small amounts of water, but no more paint. Delete “water” from watercolour. Think only of colour. Water is only the medium that makes it move across the page. And some drawing tips: Keep your eye on the subject, use single line drawing resting your hand on the paper for control, use the same line as much as possible, the inside shapes as well as the outside. And an exercise inspired from John Steven’s Script: Pick a word, give yourself a frame and write that word repeatedly using different sizes, different scripts, different colour, at all angles, overlapping, intertwining, and with different tools. This may be done with a group of words, or like our exercise with Haiku writing—a single subject matter. Don’t limit yourself to a box shape, any frame will do.
Fractur with Thomas Hoyer Submitted by Susan Miller and Pauline Thompson During the first day of the two-day Fraktur workshop, we learned that calligraphy has been a passion for Thomas Hoyer rather than an occupation. At age thirteen he asked for a pencil and paper to “practice” a unique lettering he saw and loves the challenge of new and various letter forms. He is a freelance artist and graphic designer and lives in Aachen, Germany.
We asked about his wooden ink bottle holder which was fashioned in clever way. You can put your nib in at an angle rather than straight in from the top. Thomas said he would arrange to ship some of these homemade bottle holders (which hold three small or medium sized bottles) to us when he returns home to Germany at a cost of about $20.00. Thomas uses a small ink drop bottle to place a single drop on the nib rather than ‘dipping” his pen directly into the bottle, which he said was bad form. Thomas did several demonstrations on how to maintain the consistency of letter size and spacing. He was careful and deliberate and we followed his example.
much. I’m sure the rest of the group would agree. The following are some important points to remember when writing Fractur letters: •
Connecting letters should always touch at the square (this is the mark made at the bottom of the letter as you turn your pen). Also, while connecting letters in a word the priority is to make the connection at the bottom of the letter.
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White space in the letter and between the letters needs to be watched for distance.
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Make sure the bottom bar of the letter is either stretched or shortened depending on the letter. “m” the bars cannot touch. “w” the bars must close.
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The first stroke defines the width of the letter. You may have to close the space such as in “rf” whereas “rs” has even spacing. “ft” combined should not have the roof of the “f” touching the “t”. Double “p” needs to be moved to the left to provide continuance.
Thomas demonstrates the proper formation and spacing of letters to Mieke van der Vliet.
I appreciated his calm demeanor: no urgency to quickly draw lines or stringent how-to’s. We started right in on basic strokes such as i, j, l, and n on graph paper which made it easier to lay out the letters in their proper form.
Thomas points out the importance of letter form.
Frequent mumblings were heard throughout the day by participants not liking their lettering but Thomas’ gentle coaching and encouragement made us think- “Hey, not so bad!” and we could see Fraktur in our future. My table buddy and artiste extraordinaire Lenore Le May, said it was good for her to learn a new hand. She was getting tired of the same calligraphy style and enjoyed Thomas’ class very Lucy Hylkema practises the letter forms.
As you can see Betty Locke is a prolific writer.
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Tool Time submitted by Charlotte Whiteley We had such a fun time this Fall creating pop can pens and playing with wisteria pods. There are so many unique tools that we don’t buy in the art stores and calligraphy supply websites. A person is limited only by their imagination! This tool featured here is very basic and simple. It is a water container that I purchased at Opus in Victoria. It was inexpensive and I really like it for a number of reasons. It collapses and therefore is easy to transport. In the collapsed position, it is about 1 inch high. Fully extended it is about four inches high. The sides are scalloped so you are able to rest a pen or brush on it without it rolling onto the floor or worse onto your art work. It is made with silicone rubber and grips well to the surface you are setting it on.
New Pictures for Sunridge “Gallery”
Pat Wheatley places Betty Locke’s work of art at the end of the hall.
Lucy Hylkema places name tags beside the pictures.
One Senior commented that she would come and stand in front of a certain piece and just stare at it because she liked it so much.
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September Program
Submitted by Margaret Kells
edge, the angle of the cut edge, and the amount of pressure applied when writing.
These pens are fun to make, fun to use, and can be compared to ruling pens in style, though they are meant to be used in a relaxed manner. Lucy informed us that different inks react in different ways, and when using either ink or paint, the pen will require reloading frequently.
Gillian Mouat creates interesting letterforms with a pop can pen.
Lucy Hylkema demonstrates how to use a pop can pen.
Our President, Lucy Hylkema, presented the September program. For the program, we were to make Peter Thornton's POP CAN Pens. Lucy supplied the essential materials, and demonstrated the process before everyone set to with much enthusiasm.
Participants enjoyed the unpredictability of the letters produced and the accompanying splatter, which created interesting effects.
Trudy Kungold Ammann and Denise Rothney
At the end of the session Lucy also spoke briefly about alternative writing tools which may be available in our homes and gardens, and encouraged us to use our imagination as we look around. She mentioned such things as Balsa wood, Denta sticks and toothpicks. As an example, she gave out wisteria pods from her garden, which can be used as a calligraphy tool! This caused much interest and amusement.
The pens were made by cutting out a spade shape from a rectangular piece of pop can metal. The bottom part of the shape was then wrapped around an old pencil and secured with duct tape. The pencil had to be placed fairly low on the metal piece to allow the top part to be folded into a point. Eleanor Harris enjoys the results of using an unusual writing tool.
Susan Miller’s letter forms using the pop can pen.
Ria Lewis, Jim Wisnia and Linda Yaychuk make their pop can pens.
Although surprisingly simple to make, participants were delighted with the varying effects these pens made, depending on the width of the writing
Thank you Lucy for a very informative and enjoyable session. David Carter and Margaret Kells.
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September Galleria Submitted by Jane Taylor Our challenge this month was to do a composition in a landscape layout, 6�x18�. It was not to be folded or done as a book or a scroll. Judith Lovell led the critique. Our members used a wide variety of mediums including sumi ink, walnut ink, acrylics, water colours, gouache, pigma pens, coloured pencils and a marbling kit. One resourceful member even dug into her personal make-up for some bronzing powder. There seems to be no end to the creativity of our calligraphers.
Margaret Kells - Italic
Pauline Thompson - Pointed Brush
Linda Yaychuk - Gwen Weaver
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Susan Miller
Ria Lewis - Copperplate
Betty Locke
Pat Wheatley
Marilyn Lundstrom - Copperplate
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Anne Atkinson
Marion Craig - Italic
Lenore Le May - Fraktur
Ida Marie Threadkell
Trudy Kungold Ammann - Modified Copperplate and Pointed Brush
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Mieke is working on a homework assignment for the Romping Romans class. David Clark gets a helping hand from Betty. He’s trying to master Uncials.
Playtime
Why is Leslie so happy? She’s now a retired lady and able to enjoy Playtime.
Debbie is working on her Haiku for the next Galleria.
Ria is creating a gold initial for her grandson’s first birthday. You can see it in the insert. Marion was working on her Christmas cards
Debbie can always count on Marilyn to give her a helping hand or advice concerning any problem.
Marion and Lucy are having a serious discussion. I think Marion is begging Lucy to turn up the heat!
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Letter from the Editor Submitted by Linda Yaychuk After reading the President’s Message I thought that this would be a good time to formally introduce you to the “Dream Team” or as you refer to them the Newsletter Team.
We have two photographers: Alane Lalonde (L) and Jane Taylor (R). It is their job to take pictures during our programs and send them on to Ria Lewis for publishing with the program write-ups. They also gather the Galleria pieces after the meetings, take them home, photograph them and put them into their computers for publishing. During the publishing, they create a descriptive paragraph about discussions pertaining to the Galleria topic. They then arrange the pictures on two to four pages depending on the number of submissions and sizes and send the published pages on to Charlotte Whiteley for final proofing. Jane and Alane also create collages from pictures taken at our June and Christmas potluck parties. Lenore Le May (L) and Margaret Kells (R) are our program writers.
They write up the highlights of the programs from each meeting. This is difficult to do as they are taking notes while trying to participate. Once they have written their article they send it on to Denise Rothney who proofreads it and then sends it on to Ria who combines them with the photographs and puts them on a published page.
Ria Lewis is the Assistant Editor. It is her job, as mentioned above, to formally combine the program writeups with the photographs and put them in a published format. Ria also publishes the Exposés and workshops.
Denise Rothney is one of our proofreaders. Every article including programs is sent to Denise who goes through them to correct spelling, punctuation and word arrangements. She then sends them on to Ria or me for publishing. Charlotte Whiteley, as well as proofreading the Gallerias, produces the Tool Talk articles. After choosing a tool, photographing it and writing about its usefulness, she publishes it and sends it on to me. Betty Locke is the one who produces the lovely drawings and information on the Upcoming Events page. We are lucky to have Judi Hopewell on our team to write the Exposé. A questionnaire is given to the person being interviewed . Judi takes the answers and uses them to create her article. After reading this issue’s Exposé I’m sure you’ll agree that she is an excellent writer.
Our newsletter has people who write an article for each edition. These include Librarian Pat Wheatley (L), President Lucy Hylkema (C) and Gwyneth Evans (R). Gwyneth writes
the article called Words, Words, Words. This article is on subjects directly or indirectly related to calligraphy and are extremely interesting. Barbara Qualley is invaluable. She’s the one who cleans up my messes. After I have put all the pieces together, Barb goes through the whole newsletter making further corrections, looking for pictures that might need tweaking or arrangements that could be improved. The copy of the newsletter is then sent to the printer who make a hard copy for Barb and me. We once again go through the newsletter looking for errors. When we are satisfied, Barb puts it on the website and I send it to the publisher for final production of hard copies. Muriel Heggie is our distributor. Her job is to place the magazines into labelled envelopes and mail them out She also has members pick up copies at her house. I think you’ll agree with me when I say that preparing the newsletter is a daunting task, but these wonderful people never complain and make it seem easy. They are a great team.
Linda Yaychuk
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October Program
Submitted by Linda Yaychuk
We then created a web chart for the word “sun� recording words relating to the topic. Each of us then created our own web chart on a topic of our choice and then created our own Haikus from some of them. Various people read their Haikus to the class. Here are some of them.
Betty talked about how to lay out our Haikus . She suggested emphasizing one or more words. This can be done in numerous ways. Change the size or colour or lay the word in a light area of your background. Words could be laid to the right of the piece or be centred. Her final advice was to remember to use a hand that was appropriate to the words in your Haiku.
The October program subject was how to write a Haiku and was presented by Marilyn Boechler. Haikus were developed in Japan around the 1890s. They were related to Buddhism with the emphasis on nature and the present moment, rather than on religion. Gillian Mouat and Ida Marie Threadkell are working on their syllables.
blue sky overhead infinite and deeply black stars' and planets' homes Ria Lewis
Charlotte Whitely and Carolynn Dallaire work on their Haikus.
A Haiku is made up of three lines. The first line is consists of words totalling to five syllables; the second line totals to seven syllables and the last one to five. Syllables are the number of vowel sounds you hear in a word. For example, the word syl la ble has three syllables. The words within a Haiku may be related to a topic without actually using the topic word within the Haiku. For example, in a Haiku about Spring you could use words such as buds or babies without using the word Spring.
Marilyn read some old and modern Haikus. The modern Haikus do not necessarily use the five, seven, five syllable method. 18
This is a web that was created by Marilyn and the class.
buddies together supportive, fun, free comrades forever Betty Locke
whirring winds whistle flying by glistening webs softly singing songs Joanne Cruise
smiling face ladybug hurries home petal lobes curl in Mary Nelson
leafy, shady branches solid trunk and tender twig home for feathered friends David Carter
Betty is explaining how to lay out our Haikus.
Thank you Marilyn for a very enjoyable programme.
October Galleria Submitted by Jane Taylor This month our challenge was to use three alternative writing tools or traditional writing tools we might use infrequently. We were a given quote by Friedrich Nietzsche. Some of the great tools people adapted for writing were clam shells, bamboo sticks, a Kistna (stylus for Ukrainian egg drawing), dental picks, seed pods, glues and finger nails. Some examples are pictured on the next page.
David Carter
Ria Lewis Judi Hopewell
Carolynn Dallaire
Mieke van der Vliet
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Marilyn Boechler Linda Lax
Charlotte Whiteley
Marion Craig
Pictured here are some of the unusual tools our members found to use in their piece this month. Clockwise from upper left: wisteria pod, straw broom pen, flower pod, seed pod from a Hawaiian tree and pop can pen.
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Pat Wheatley
Margaret Kells
Judy Lowood
Anne Atkinson Ida Marie Threadkell
Betty Locke
Ruth Rutledge
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Exposé of Betty Locke
Submitted by Judi Hopewell
doing when you are a wife and mother (Thank goodness her husband, Duncan, is such a good cook!). Through the years she has studied with many, many calligraphers of note, both locally and at international calligraphy conferences. We are so glad she did!
Betty Locke doing what she does best.
Betty was a schoolteacher in junior and senior high schools in Edmonton and Calgary. She has presented calligraphy workshops many times in Canada and the U.S.A. and even in New Zealand. Duncan and Betty are now retired but you would not know it! She is busy. They enjoy going on cruises when they can and they really
Warmland Calligraphers of the Cowichan Valley exists for one reason, I am told, and that is Betty Locke. She is a treasure and a priceless resource who is much respected and valued by every member. Her grace, poise and artistry are freely shared with us all and we each strive to learn from her while we can. One wonders if she had not retired here, would we even exist?? Betty was blessed with an aunt who took her tiny fingers and prophesied that there was “art in those small hands”… She was right. Life for Betty Robertson began in 1938 in Edmonton, Alberta, where she was later educated. Betty studied at the University of Alberta (where she met Duncan Locke) and earned both a B.Ed. and a B.A. in Fine Arts. Soon after, she moved to Calgary and married Duncan Locke almost fifty years ago. They taught in the same school at one stage and they raised two sons in Calgary, where she added a Diploma in Early Childhood Education from the University of Calgary to her considerable accomplishments. Sounds easy when you say it quickly but it takes a bit of
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of the Cowichan Valley (both of which she helped found) and she also belongs to the Fairbank Calligraphy Society and the Valley Calligraphy Guild in Eugene, Oregon (the Lockes lived in Eugene for a couple of years while studying). Her initial calligraphy teaching in Calgary hatched a calligraphy community there and it blossomed into a guild. The rest is, as they say, history. So, this is what she brings with her to each and every meeting of the Warmland Calligraphers and what a treasured resource that is. These days she teaches through our Guild and Elder College in the Cowichan Valley and shares often in monthly guild meetings of the Warmland Calligraphers where she critiques and encourages her fellow calligraphers in their monthly Galleria submissions. That in itself is a learning experience. We all look forward to her words and her art when she presents. Betty has several other interests too. Top of the list, of course, are her grandchildren, Parker and Hope Ann. She is an avid reader and belongs to a
Teaching is one of Betty’s many talents.
enjoyed a trip to England recently. Her talent has been rewarded. In the yearly international contest sponsored by the Washington Calligraphers Guild and the National Association of Letter Carriers, she has received Honourable Mention twice for The Graceful Envelope. She is also a Lifetime Member of three societies: the Edmonton Calligraphic Society, the Bow Valley Calligraphy Guild in Calgary and Warmland Calligraphers
Assisting Linda Yaychuk.
book club, which nudges her to read unexpected things, and she is also an avid lawn bowler. I am sure I speak for everyone when I say thank you to Betty for her generosity and skill-sharing in a Guild that we all love.
Fun Quotes Submitted by Linda Yaychuk •
I shut my eyes in order to see – Paul Gaugin
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The secret of art is love. Antoine Bourtelle
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In art, as in love, instinct is enough. - Anatole France
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Inside you there's an artist you don't know about. - Rumi
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All dreams may come true if we have the courage to pursue them. - Anon
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We cool ones don’t age. What we do is m-e-l-l-o-w. - Anon
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We cannot escape fear. We can only transform it into a companion that accompanies us on all our exciting adventures. Susan Jeffers
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Some of the most wonderful people I know don't fit into boxes. - Tori Amos
Dreams don’t follow a clock they follow the heart. - Anon.
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The more you praise and celebrate your life, the more there is in life to celebrate.
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If you can't be a good example, then you'll just have to be a horrible warning. -Catherine Aird
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Age is a number and mine is unlisted. - Anon
Life may not be the party we hoped for, but while we are here we might as well dance. - written by an 83 yr. old
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I think my mind took a vacation and my body is just holding the space until it returns.- Murphy Creativity is allowing yourself to make mistakes. Art is knowing which to keep. - Scott Adams
Hope and thought are the way to bridge our real physical world to the place we desire to be. - Hal Thomas
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It’s All in the Clothespin Submitted by Linda Yaychuk •
Use a clothespin to hold paper on your slant board or to hold your brush upright to dry.
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Take the metal spring off of a clothespin and use the halves as brush or pen rests.
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Keep favourite cards, colour wheel, notes, etc. by hanging them with clothespins on a picture wire above your desk.
Back Cover Artist - Judi Hopewell Judi Hopewell produced this piece as a result of a Galleria topic called Can You Dig It? which was the theme for the 2014 Cowichan Exhibition. Judi studied classical calligraphy and ornamentation in boarding school and never really stopped. She is happy to have discovered a dedicated calligra-
phy guild with which to grow and learn. Judi is just disappointed that she lived here for twenty-seven years before discovering the Warmland Calligraphers. Judi has volunteered to be the writer for the Exposés.
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