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“GOTHICIZED ITALIC” – Online class with Barry Morentz

80.00 49.90

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WHERE AND WHEN:
– 17th and 18th February 2021 – from 7:00 pm to 9:00 pm (Rome Time)
Total 4 Hour Workshop in Direct Via ZOOM
The Zoom session will be recorded. If you are unable to watch live, you may still take the class.
Links for the videos will be sent to you after class has ended and expire in 2 weeks.

INFO:
[email protected]
+39 349-6051804 (Whatsapp)

“The workshop is aimed at everyone: designers, professionals, students, graphic designers, tattoo artists, letter lovers, just curious people or anyone interested in calligraphy, both as an artistic medium and as a graphic element to complete or enrich an editorial or advertising work.

• HOW IT WORKS:
– Buy the Workshop through the normal e-commerce procedure of the site
– The days before the Workshop, you will receive the PDF handout and your personal address to access the Zoom Direct with the rest of the Class by mail.

• WHAT YOU BUY:
– 4 Hours live on ZOOM in 2 Days shared with teacher and class with the possibility to interact at the moment.
– Handouts and Work sheets in PDF format
– Video recordings of the Class available for 2 weeks

• REQUIREMENTS:
This class is not for the newcomer to Calligraphy or for the faint-hearted. Prior experience, and some fluidity in Foundational and Italic is essential. 

• TOPIC: “Gothicized Italic”

Edward Johnston’s last major manuscript hand, developed in 1924, was a compressed Foundational characterized by a rich, dense texture quite similar to a Gothic Textura. The name Gothicized Italic is, however, somewhat misleading, because the forms themselves bear little, if any, affinity to Italian Renaissance styles. Yet because of its compressed, pointed character, and when written on a slight slope, it does take on something of the lively rhythm of Italic, culminating in an evocative, often sumptuous style of writing. It is most effective for wedding invitations, formal documents, and some poetry. 

In this workshop we begin by looking at Johnston’s forms and their historical antecedents. Then we zoom into the 21st century and consider the forms stripped of anachronisms, and apply modern techniques to make them more relevant to our time. An in-depth analysis of the alphabet will be accompanied by disciplined exercises in pen pressure, speed, touch, and rhythmic spacing.  

• SUPPLY LIST (excluded from the registration fee) WORLDWIDE SHOP • SHOP  IN ITALIA

– Usual calligraphic supplies

– Speedball C1 or C2, or Mitchell 0 or 1 (or equivalent Brause if that is your preference) for practice; some smaller sizes for actual writing. NO FOUNTAIN PENS  you cannot understand or perform the subtleties inherent to this style with these instruments

– Favorite inks; stick ink preferable

• THE TEACHER:

BARRY MORENTZ owns and operates his Manhattan studio where he creates calligraphic works and hand-made books, boxes, and portfolios. He holds an MA in Medieval History, but abandoned pursuit of a doctorate in favor of an even less likely career in calligraphy. Initially self-taught, he began his formal calligraphic studies, primarily with Sheila Waters, in 1977, and eventually with Gottfried Pott at every opportunity. A seminal experience was participation in the Hermann Zapf Master Class at RIT in 1985, and subsequent paleographic studies in Rome and the Vatican Library. He has taught numerous workshops throughout the US, Canada, Japan, Hong Kong, and Singapore, and at five international Calligraphy Conferences. In his midtown studio he ministers to the needs of The New York Public Library, Estee Lauder Companies, Cartier, Columbia University, and The Museum of Modern Art, where he has been The Living Anachronism since 1986. His day-to-day work includes Illuminated Resolutions, Award Design, Publications Headings, Book and Portfolio Design, and addressing The Omnipresent Envelope. His extra-curricular interests include reading and lettering Shakespeare and Danté, listening to Classical Music and Opera, and getting lost in gourmet food markets.

After more than 40 years he remains inspired by the visual and emotional power of letterforms to communicate on a deeply-felt level and to challenge the viewer to discover the layers of meaning within a text.

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