* WORKSHOPS FOR ALL LEVELS IN ENGLISH LANGUAGE *
WHERE AND WHEN:
20th and 21th August 2020 – from 5:00 pm to 7:00 pm (Rome Time, GMT+2+)
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 1 week.
+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
You can be part of this class even if your experience with calligraphy, pens & ink is minimal. If you are experienced, an in-depth analysis and review of the Roman majuscules will further refine your calligraphic expertise.
• TOPIC: Bruta, La Grafia
ENGLISH Bruta La Grafia, Calligraphy Beyond the Styles Brushes for & Nibs for Creative Souls Workshop of methodologies and creative processes from caligraphy by Cláudio Gil Bruta, LaGrafia – a kind of beginner to intermediate level workshop designed for calligraphers and artists interested in investigating creative methodologies for calligraphy through a mix of brushing and metal nibs practice. This meeting proposes that students work intensively, but without stress, taking advantage of their own knowledge in calligraphy, working with calligraphic hands that make them feel comfortable towards ideas that will be outside that comfort zone. Through simple practices, students will explore and extrapolate their own limits through investigations that lead them to discover and develop particular methodologies in order to follow paths full of identity and freshness. A process of searching for a unique and singular brand for your creations. Regardless of style, each student will go on a journey to invent imagery through the strokes of two types of instruments that are at the same time intimate, known, mysterious and unpredictable…
ESPAÑOL Caligrafía más allá de los estilos Pinceles y puntas para almas creativas. Cláudio Gil Taller de metodologías y procesos creativos a partir de caligrafía por Bruta, LaGrafia – un taller de nivel intermediario para calígrafos y artistas interesados en investigar metodologías creativas para la caligrafía a través de la práctica con pinceles. Este encuentro propone que los estudiantes trabajen intensamente, pero sin estrés, aprovechando su propio conocimiento en caligrafía, trabajando con manos caligráficas que los hagan sentir cómodos con ideas que estarán fuera de esa zona de conforto. A través de prácticas simples, los estudiantes explorarán y extrapolarán sus propios límites a través de investigaciones que los lleven a descubrir y desarrollar metodologías particulares para seguir caminos llenos de identidad y frescura. Un proceso de búsqueda de una marca única y singular para sus creaciones. Independientemente del estilo, cada estudiante emprenderá un viaje para inventar imágenes a través de los trazos de dos tipos de instrumentos que son al mismo tiempo íntimos, conocidos, misteriosos e impredecibles …
- I always recommend some materials, but I understand (and prefer) that the students use materials that they feel more comfortable at this workshop.
The most important is that the materials are similar. For pens, for example, the essential is a broad nib. In terms of size I see the importance of working in at least two sizes to understand some contrast and velocity relationships. But the brand of the material does not matter much. Pens (some of possibilities, and we don’t need all sizes or brands, each student must evaluate which of the makes them fell more comfortable) But essentially we need paper, a liquid ink, a tempera (or guache or acrilyc). A broad nib and a flat pen. Just this. The essential is relevant.
- What you can use (the students don’t need all of them, just a kind of one that I quote above) Parallel Pen, Speedbal pens (C0, C1, C2 or C3) or N04-S10A. Mitchell Calligraphy Nib: 6.0mm – 2.0mm (with reservoir) or Brause (Bandzung model) : 5.0mm – 1.0mm or Leonard (Hiro Tape model): 5.0mm – 1.5mm or Tachikawa C nibs: 4.0mm – 1,0mm Parallel pens are also usable although they are not as flexible as described above. I see the 2.4mm and 3.6mm models as more suitable, but the student is free to choose which one to work with Brushes Short bristles BR24 Raphael Kaerell Flat Brush: size 04 and 6 (3/16” and 1/4”) and/or 08/10 (5/16” / 3/8”) Windsor & Newton: 995 (BR01) for ½” & larger (But just for students that are thinking in produce very large pieces as an A2 format or bigger. (optional) Long bristles (optional) BR60. Simply Simmons Brushes 1/2“ BR12. Rekab Brush #5 (1/4”) A brush for fuel the reservoirs of pens A3 – Craft paper – 80gsm – 120gsm A3 – Canson Croquis / XL white or XL extra white – 90 gsm Towel paper adhesive tape 1 tempera or acrylic ink 50cm ruler pair of squares pencil or automatic pencil 0.5mm liner black marker water and ink reservoirs Liquid ink: Indian ink Optional inks (colored inks: ecoline, liquid water colors, windsor & newton calligraphy ink, Richstone Sepia inks, Pelikan 4001, Liquid Acrylic ink etc) Black Tempera (gouache) or water colour or acrylic tube (50ml) Coloured inks are optional but always welcome for students that love work with colors.
• THE TEACHER:
Cláudio Gil from Brazil, is a teacher, designer, artist, and calligrapher. Master in Design by ESDI-RJ, Teaches art, design and calligraphy in design schools and in his private studio in the city Rio de Janeiro, where he lives. Self taught calligrapher, started his first investigations and trials in 2003 and since the has promoted more than 300 workshops in the last 15 years. In recent years he has been researching and lecturing paleography, writing, calligraphy and visual languages in schools, universities biennials, art and design events in Brazil, Latin America and Europe. His solid foundation through daily research and practice allows him to explore and extrapolate the boundaries of the classic, producing several slopes always full of freshness, which has become a mark in his contemporary work. His productions have already been exhibited and published in several countries and many of his works are in collections of museums and cultural institutions around the world. Very happy and honored to participate in the Write, right now in Slovenia Rendez-vous he’s currently developing a special workshop for the event. Cheers!