Table of Contents

Logo designed by Judith Lovell

Journal Issue #5 June 2021

Previous Newsletters ended at Issue #66

Due to the Covid-19 pandemic - All 2021 meetings were held online via ZOOM Regular monthly meetings

are held on the Second Tuesday 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 Tuesday of each month from 9am to 12pm Stratford Room, Exhibition Grounds Annual Membership in Warmland Calligraphers includes online and print 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. Editor Barbara Qualley Proofreader Eleanor Harris

Inside this issue

Cover - Judi Hopewell 2 2021 PORTALS Exhibition Poster - Betty Locke 3 Table of Contents 4 President’s Message / Legacies III International Conference 5 First Zoom Gathering - Book Recommendations 6 September Galleria 9 September Meeting Programme / Judy Matheson Tribute 10 October Meeting Programme / November Meeting Programme 11 Letter Crafting 2020 / December Meeting Programme 12 October Galleria 15 Covid 19 - It Has A Silver Lining 16 Bensgothic with Violet Smythe 18 November Galleria 20 2021/2022 WCCV Executive 21 Christmas Cards 25 January Meeting Programme / February Meeting Programme 26 January Galleria 30 February Galleria 33 March Galleria 36 Elegant Copperplate with Betty Locke and Marilyn Lundstrom 38 Cascading Capitals with Suzi Beringer 40 2021 PORTALS Exhibition 41 March Meeting Programme / April Meeting Programme 42 April Galleria 45 May Galleria 47 Illustrating Calligraphy Simply with Judi Hopewell 48 Back Cover - Judith Lovell

Contact us at: P.O. Box 2, Duncan, B C, V9L 3X1 Canada www.warmlandcalligraphers.ca

ON THE COVERS

Front Cover - Judi Hopewell - Judi admires the work of Master Penman, artist and woodcarver, Jake Weidmann. This piece was inspired by his awe inspiring works. The design is done mostly in pencil crayon with the reflection in white ink. Back Cover - Judith Lovell - This is compiled from a piece I started some 10 years ago. The painted centre was going to be about diamonds but it got put on one side and forgotten. When asked to do something for the back cover I paid a visit to all my unfinished projects in the hope of inspiration. None came. Just about the time when panic begins to set in I read the quote on a BBC website.

I love using coloured pencils particularly on black. That requires a white background for everything so the Fons And Porter white ceramic marker for fabric was used to work out the spacing and do the ground. Practicing the rainbow colours was fun but needed to be kept to as few pencils as possible and I ended up with 9. The lettering is made up of triangles, following the shapes of the centre. The word darkness was a problem as I wanted it to be black on black but that would not reproduce well so that was solved by making it different both in lettering style and background. The centre painting was of course on white so the black around it was cut from Canson.