Everything seems to be falling into place for the spring and the coming year. Our exhibit will be coming up soon, so please be working on those pieces, with the theme of "Feelings" in mind.

We have two important votes coming up at the April meeting. Once again, I apologize for any confusion over the timing of the notice regarding the dues increase. We will vote at the April meeting on whether or not to increae dues to $24/year. This increase will assist with the recent increase in postage and will also help with rising printing costs for the directory and the newsletter. It is a $4/year increase, approximately a 33 cents/month increase per member, but approximately $400/year for the Guild with which to continue and improve services to all. Our second vote will be for the slate of officers for the coming year. Please be sure to check this issue of Flourishes for the slate presented by the nominating committee.

At the last Board meeting, we discussed the confusion over the various "years" we use. Our dues are due in April, our officers are installed in June, our meetings start in September, and new members' dues are prorated starting in January. We decided that it would help us if we could clarify these years in order to simplify matters. A Bylaws Committee was formed and will review this issue and make written recommendations to the general membership in the near future. If you have any suggestions or would like to attend the meeting, please contact Gayle Venticinque, our Parliamentarian. The intention is not to rewrite the Bylaws, but rather to simplify this issue for the future.

I would like to thank all that have volunteered (with just minimal arm-twisting!) to chair committees for the coming year. We still need someone to handle hospitality, so please let me know if you are interested. Seriously, we've had so many members volunteer to help with a variety of tasks this year. The high level of involvement of our members is what is making this such an exciting year. Once again, thank you to all.

See you in April.

.................................................................................................Leslie

P. S. I will show the Reggie Ezzell video at my home in April, on Wed., April 7 at 3:00 p.m. and Saturday, April 10 at 3:00 p.m.

Early Bird Panel

"What is new on the Market, Resources, Products and Techniques?" That is what you will learn from our Early Bird panel of Beverly Carter, Shirley Ginn and Karen Veni. Come and see the latest.

Maggie Gillikin

Hands-On Program

"What on Earth is Polylineal Writing?" with Paula Webb of Austin. Paula describes it as a simple way of thinking about language-made-visible. She was formally introduced to "polylineal" writing at the national conference at St. Louis in 1997.

The supplies needed to try your hand at some rapid, free-flowing writing, please bring with you:

1. Pencils
2. Markers
3. Crayons
4. An appropriate writing surface.

Paula has been a calligrapher for twenty years, a charter member of and first president of Austin's Capital City Scribes. She has been freelancing, reaching and lecturing on calligraphy and related subjects for over fifteen years. Her book binding experience spans ten years. She teaches simple bookbinding for children at Laguna Gloria Art School's summer program. She has honed her skills in calligraphy and bookbinding with much seriousness, taking good advantage of the many talents that have been made available to her through the calligraphy guild and through workshops and seminars around the country.

Paula considers it a joy to teach others what she has learned, to share her enthusiasm and to encourage excellence in the art of elegant writing and creative bookbinding.

All members of SACG are invited to Play Day on Saturday, March 27th come and go from 9:00 a.m. to 4:00 p.m. at Warm Springs Rehabilitation Hospital. Fee is $5. Bring your own lunch, snacks & drinks, your own supplies and a plastic spoon to make an Easter pin. Or, work on a exhibit piece for "Feelings" show. Call Bonnie Houser to reserve a space, 824-5497.

MINI-WORKSHOP

The Intertwining of Roses & Versals
with Kate Bergquist
Warm Springs Rehabilitation Hospital
5101 Medical Drive
Thursday, March 18 * 7:00 p.m. - 9:00 p.m.
AND
Christ Episcopal Church
510 Belknap Place
Friday, April 16 10:00 a.m. to 12 Noon

Due to the popularity of Kate Bergquist, we will Have two mini workshops - see above. Kate will teach Intertwining of Roses and Versals. Participants will need to bring the following supplies:

1. 2 nice brushes (sizes 1 - 2 )
2. 3 water containers
3. 1 sheet of Arches hot press, 90 lb.
4. Bone folder
5. Awl and needle with a large eye (if you have it)
6. Pipette or eye dropper (only if you have it)
7. Watercolors and/or gouache - a variety of REDS and GREENS, especially
8. Optional: drawing board

The May mini-workshop is mini-books with Maggie Gillikin and then we start our new mini-workshop program for 1999-2000. Cost for each mini is still $5.00 or $40 if all eight programs are reserved at once. Non-members will be charged $6.00. We have quite an exceptional lineup with some of the best teachers in San Antonio:

September - Roman Letters with Carol Patterson
October - Colored Pencils using Neuland with Bill Waddington
November - Celtic Knots (a no-fail 5-minute method) taught by our own President, Leslie Winakur
January 2000 - Pointed Brush using Gouache with Martha Grant
February 2000 - Uncial with either Donna Livingston or Maggie Gillikin
March 2000 - Copperplate with Joan Schmitz
April 2000 - Contemporary Decorated Letters with Bonnie Houser
May 2000 - Pointed Italic with Barbara Gere

Gayle Venticinque has volunteered to help me (bless her); she will collect the money and pay the teachers.

B. J. Grant

Membership Notes from Mary and Jo

Our membership is now 115, with the addition of the following new members. Update your directory to include information on Kaye Yarbrough, she's back in San Antonio.

Mary Bowman & Jo Drake

Please comply with the following:

a. All exhibit entries (except textbooks, "tools of the trade" and specific items for the display cases) must be original in concept by Guild members and not have been exhibited previously in a Guild show.

b. All entries that can be framed must be framed and wired for hanging. For safety reasons, all pieces that measure 20" x 24" or larger must have plexiglass and not regular glass.

c. All framed entries must be labeled on the backside of the entry with the following information: Title of Entry, Price (if for sale) or Value (if not for sale), Media/Medium used, Member's Name, Address, and Phone Number. An entry card (3"x5" index card) with the same information must be supplied on delivery for the catalog.

d. The entry fee is $7.50 for the first entry, $2.50 for the second, and $1 for each additional entry. There is a maximum of 5 entries per member. (Entry fees are not required for display-only items.) Fees will be collected at the time of delivery.

e. If your official entries includes handmade books (which must contain original calligraphy work) or hand-lettered fabric pieces, please provide small easels or other display devices necessary to display such items to the best advantage in the glass cases available. If you wish to enter new handmade books for display only (not official entries), please turn in a list of the books at the April meeting.

INVITATIONS. The invitations for the exhibit and reception on May 5th will be available for distribution at the April Guild meeting. If you cannot be at the meeting, please make arrangements to pick up yours.

Maggie added a new book to the Guild Library, "How to Draw Celtic Knot Work" by Andy Sloss. It makes Celtic knots easy to understand and easy to do. Check it out.

From John Neal, Bookseller

The Painted Word: Inspirational Calligraphy by Dave Wood is now available from John Neal at an introductory price of $39.99. This just-published, hardcover book is a cornucopia of color, calligraphy, and illustration. Color reproductions from the book can be seen on the website at: http://www.JohnNealBooks.com

The Art of Remembering edited by Harriet Frazer and Christine Oestreicher. A book of 80 memorials accompanied by statements by British artists. Order #B2285, $21.95.

The Cardozo Kindersley Workshop: A Guide to Commissioning Work by Lida Loopes Cardozo, paperback for $12.95. This practical manual takes you through all the steps. Order #B2286.

The Book of Hebrew Script: History, Palaeograhy, Script Styles, Calligraphy and Design by Ada Yardeni. This hardcover book sells for $60. Order #B2255. A comprehensive work by a noted palaeographer, graphic artist and type designer.

To order or for more information on any of these items, contact

John Neal, Bookseller
P. O. Box 9986
Greensboro, NC 27429

Call, toll free 800/369-9598
Phone 336/272-6139
FAX 336/272-9015

E-Mail: JNealBooks@aol.com

Or visit the website at: http://www.JohnNealBooks.com

Copies of a flyer from John Neal, Bookseller will be available at the April meeting, which describes in more detail the books listed above.

WORKSHOPS

Sheryl Hirsch-Kramer

POINTED BRUSH DANCEWRITING

Saturday & Sunday, May 1 & 2
Discovery School
222 Salem
9:00 a.m. to 4:00 p.m.
Cost $80

Class Description: The pointed writing brush is the most direct connection between the heart and the paper. It's amazingly practical and wonderfully expressive; pointed brush writing is both useful and deeply satisfying. In this class, we'll learn brush skills as we create plants and fish, and then apply that knowledge towards writing a basic alphabet of both lower and uppercase letters. Projects are assigned to help develop personal style, and we see how the brush behaves when fed a varied diet of writing fluids and turned loose to play on different paper playgrounds. Come if you love to paint or write, and be prepared to stretch yourself while enjoying the process.

Student Skills Level: For all levels of experience, including none.

Materials: An 11" x 14" bond pad, size 2 or 3 good quality pointed watercolor brush, gouache, cheap mixing brush and dish, 2 water jars, eyedropper or pipette, The Masters Brush Cleaner and Preserver, and rags. I have been charging a $15 per student supply fee for a synthetic brush, a wide variety of writing fluids and papers for finished work, along with a 30-well disposable palette.

POINTED PEN HEARTSCRIPTS

Tuesday & Wednesday, May 4 & 5
Christ Episcopal Church
510 Belknap
9:00 a.m. to 4:00 p.m.
Cost $80

Class Description: The pointed pen allows us to be calligraphic chameleons. We can vary its look by playing with pressure/slant/writing speed/size and other factors, but our true heartscripts come from having done all that and then letting go. After learning the basics, we'll then explore a world of expressive possibilities while writing to music, feeding off each other for creative spark, and allowing that spirit to move us to new levels of expression. Lots of individual attention will be given in a supportive atmosphere.

Student Skills Level: For all levels of experience, including none.

Materials: Oblique penholder (lefties can bring a traditional straight penholder, if desired), 6 Gillott 404 nibs (or for your favorite nib), black ink (Ziller's Glossy Black, ink stick, and related props, or whatever your currently prefer), 11" x 14" bond pad, small loading brush, rag, water jar, eyedropper, gouache. I have been charging a $15 per student supply fee for a 30-well disposable palette, a wide variety of papers for finished work, and 30 different kids of black writing fluid.

Class size is limited to 15.
$80 for either class or $150 for both
To reserve your place in class, send check made out to SACG and mail to:
Joan Schmitz 3246 Mid Hollow San Antonio, TX 78230

Paul Freeman Achievement Awards

Paul Freeman created and donated the demonstration piece "ABCdarium" of pen-twisting using blended Pelikan 4001 inks during his March 1979 workshop for the San Antonio Calligraphers' Guild. Mr. Freeman was the first "big" visiting instructor for the SACG. The twenty-seven participants of his workshop were greatly inspired by him.

Mr. Freeman suffered a stroke and died on August 3, 1980, just months before his scheduled return for another workshop.

In March 1986, the membership voted to present this piece annually to a member voted as having contributed greatly to the Guild. Jim and Milly Nosford donated "The New Spencerian" piece by Paul Freeman as an additional award. A year's possession of one of these pieces is a distinct honor.

This year we have ten nominees for this award. Their names and a short bio are on the following page. Please read them carefully and come to the April meeting prepared to vote for one nominee. The nominee with the greatest number of votes will be awarded the ABCdarium and the nominee with the next highest number of votes will receive The New Spencerian. All nominees will receive a certificate acknowledging their service to the Guild.

Previous Recipients

1999 Nominees for the Paul Freeman Achievement Award

1. Mary Bowman - A warm, enthusiastic Guild member since 1991, she has served as a Greeter, served on the Directory Committee 1998-99, the Newsletter Mailing Committee for several years, given mini-workshops, served as a Board member-at-large, exhibited and assisted in many Guild exhibits, contributed to the calendars, and is currently serving as Chair of the Membership Committee.

2. Shirley Ginn - joined SACG in 1997 and began immediately to volunteer for many projects. She Co-chaired Secret Pals in 1998, and is currently serving as the Guild Treasurer. She is a cheerful and enthusiastic addition to SACG.

3. Rudy Gonzales - joined SACG in 1982 and began immediately to share his graphics expertise as Co-chair of the Newsletter/Communications Committee, served as Publicity Chair 1988, and gave both mini-and full-day workshops. In 1988, Ruby moved to Ghost Ranch and many other parts of the US. During his sojourn in "foreign parts", he remained a member of the Guild and often sent back decorated envelopes and other contributions to SACG. Since returning to SA this year, Ruby has presented in the Early Bird program, been generous in sharing both his knowledge an supplies, and contributed in many unofficial ways to the welfare of the Guild. Rudy will be leaving us in May to move back to California.

4. B. J. Grant - joined the Guild in 1980. Previously, she served as Secretary, Mini-workshop Chair, President 1995-98, and is currently serving as Mini-workshop Chair and Board member-at-large. . B. J. has participated and assisted with exhibits, calendars, and taught mini-workshops. Always a kind and loving presence, she is definitely one of our hardworking, behind-the-scenes members.

5. Bonnie Houser - also joined the Guild in 1980. She has served as Recording Secretary 87-89, Corresponding Secretary 1990-93, Program Chair 1991-92, Vice-president 1997-99, and Cover Editor for the newsletter. She has contributed to and assisted with the exhibits, has served on the Cookbook Committee and the Calendar Committee. Recently she has been a driving force in establishing the Early Bird program, Playdays, and Saturday Specials. Bonnie is always a tireless behind-the-scenes supporter and promoter of the Guild.

6. Darla Peek - joined the Guild in 1991 and began serving as Publicity Chair through 1997. She also served as Chair of the Directory Committee for three years, assisted the Membership Committee for five years, worked on teh By-laws Revision Committee, served as a Board member-as-large, served as Mini-workshop Co-chair 1992-93, has been a cover artist and regular contributor to the newsletter. She also participates in the annual exhibits and contributes to the calendars. Darla is currently serving as Newsletter Editor. She is described a dedicated, dependable, hard-working, talented, friendly, and just plain "sweet".

7. Eleanor Russell - joined the Guild in it's first year 1976. She has served a Historian 1978, Hospitality Chair 1982-83, served an unexpired term as Vice-President and Program Chair, President 1980-81, Calendar Chair 1984 & 85, Exhibits Chair 87-88, and President again in 1994-96. Eleanor has conducted workshops, and contributed to and assisted with the exhibits and calendars. She has been a newsletter contributor and cover artist and served on the Newsletter team 1995-96.

8. Hazel Tillson - joined SACG in 1989 and has been an inspiration and a tireless worker on behalf of the Guild. She served as Corresponding Secretary 1993-94. Hazel chaired the Cookbook Committee 1993, a fundraiser so successful that it created a Education Fund for the Guild. She calligraphed the invitation and poster for the 1994 Spring Exhibit and has been an award winning contributor in many of the Guild exhibits and has been a regular contributor to the newsletter, as a well as a cover artist. She chaired the 1996 Calendar Committee, and most recently chaired the 1999 Calendar Committee.

9. Leslie Winakur - joined SACG in 1997 and immediately accepted the position of Secretary 1997-98. From the first, she has contributed time, devotion, and unflagging, cheerful enthusiasm to every aspect of her job. Her enthusiasm inspires other to volunteer. She has participated in the exhibits and is currently serving as President 98-99.

10. Leonora Yawn - joined in 1984. She has served as Historian 1991-92, Hospitality chair 86-88, Calendar chair 1997, Program Chair 1997-99, contributed to and assisted with exhibits, contributed to fundraisers, and worked behind the scenes to promote the Guild even when unable to attend meetings.

Birthdays  

April 1 -- Jane Fair

April 7 -- Leonora Yawn

April 22 -- Skip Blakely
April 22 -- Fran Macy

April 25 --Betty Caffey

Now is the time to speak up!

(We are repeating this article because Lynn was ill and missed the March meeting.)

The owner of Stamp Antonio plans to open a new store called SA Arts and Letters. This store will be specifically designed for calligraphers, book-makers, paper makers, journal makers, etc. I have been asked to find out what supplies the Guild members would like to see stocked in this store for our convenience. (I've been complaining about the difficulty of getting good supplies locally!) At the April Guild meeting, I will be asking for suggestions to pass on to Stamp Antonio.

Please give this some thought, as it is our opportunity to have a local supplier for our special needs. Bring a list of your favorite nibs, papers, inks, gouaches, tools, book supplies, etc. (If you are not going to be at the meeting and you have a suggestion or two, please get in touch with me by phone or by e-mail at rutland464@juno.com )

Lynn Rutland

Calligraphy Classes

Sign up for the "Addressing Envelopes" class at Michael's in April.
Joan Schmitz will teach the rules for formal envelopes and the mechanics
of doing large numbers of envelopes both formal and informal.

Addressing Envelopes
with Joan Schmitz
Michael's
located at 2375 N.W. Military Drive
Monday, April 12 6:30 p.m. to 9:30 p.m.
341-1513 for reservations

Reminder, Flourishes is a good place to advertise your calligraphy classes
to new members and "experienced" members who want a refresher.

It's Secret Pal Time!

Get your sign-up forms at the April meeting. Please fill them out and return that night. Or, if you can't attend the meeting, call Karen Veni at 558-4403 to be mailed a form. The absolute deadline for us to receive your completed form is April 30, when names will be drawn. You'll receive your Secret Pal at the May meeting. Don't miss out on the fun!

"True ease in writing comes from art, not chance, and those move easiest who have learned to dance." (Alexander Pope)

"Polylineal calligraphy departs from "normal" calligraphy by thinking of the text as a set of visual forms which, like other visual forms, can be repeated, patterned, fragmented, and otherwise manipulated for visual effect." These are the words that Steve Skaggs used to describe the class he taught at Confluence. One of his students was Paula Webb, whose work appears in this article.

For those of you who have never tried creating non- verbal work with lettering, this process might seem a bit intimidating. Most of us are unaccustomed to writing letters on top of letters because we have all been programmed to perceive letters for reading purposes only. This process will help you to also see letters as texture and visual art with no attempt at legibility. It is direct and honest. Thumbnails are definitely not a prerequisite. It is a different process with no end in mind. Music can also help to create a mood and influence the rhythm of the writing.

You can try it yourself by making a BIG mark with a BIG tool. Choose any color and use tools such as a brush, sponge, rag, a piece of cardboard, etc. With a smaller tool such as a nib, ruling pen, twig, or pencil, begin to stack a word or group of words, one on top of the other. You have now created texture, tone, and space. This visual art can stand alone or you can add words that will reveal the text to the viewer.

Employing this process on verbal work also requires much repetition, but not with the letters necessarily stacked on top of each other. By selecting key words or phrases from the text and repeating them you can use these particular repetitions as supporting background texture to add emphasis to the actual text. Value and size play an important part here. Create a contrast by varying the size and value. The possibilities, of course, are endless. Steve describes it best in his description of what happens when the text is fragmented and repeated. "The polylineal method makes possible a continual reexamination of verbal structure. As if rotating a crystal under a microscope, the method can reveal constantly changing facets of meaning in the text."

Another powerful way to use the polylineal method is in creating an entirely new text. This happens quite naturally when the calligrapher begins to allow his or her personal feelings to enter the process. At that time, it becomes almost irresistible to insert a word or phrase that expresses the personal thoughts of the calligrapher in direct reaction to the original text so that there is a dialogue between the text and the calligrapher.

Paula came away from the class with very strong impressions about what will allow polylineal writing to work. She does not want anyone to be misled and think that this process is just a matter of pulling out a sheet of paper and writing any old way and calling it art. There first has to be a strong inner feeling concerning the chosen text, whether it is verbal or non-verbal. Secondly, there needs to be an unselfconscious consistency in the way the tool is held, the way the ink flows, and a thorough understanding of the letterforms involved. A basic underlying knowledge of design also helps.

In conclusion, the more you know about the tools and process of making good letterforms, the more likely will be your success with this marvelously creative, free and exhilarating process of writing.

This was my first conference, and all I can say is, "WOW!" I went off to Tulsa with Joannie not even knowing exactly where Tulsa is on the map (although we did eventually manage to scrounge up a map in the airplane magazine and educate ourselves). Although the weather was atrocious, especially by Sunny San Anton' standards, everything else about the trip was fantastic.

Our Tulsa hostesses were wonderful and spoiled us terribly, actually waiting on us hand and foot. But I was even more impressed by the exchange of ideas and information that took place. I could hardly believe we were really only in session for less than 24 hours. We were very proud of our Guild. We are the second largest guild in the conference and one of the most active. Our dues are among the lowest, as are our mini-workshop fees, and our major workshop fees are average. We got some great ideas from the other guilds, which we will gradually bring to the board and to our general membership. Almost all of the guilds have some excellent talents who are willing to teach and give programs within the conference area. This would be such a nice way to get to know some of our very skilled conference members and learn from them, while limiting travel costs for out-of-town guests. All of the guilds were agreed that the hands-on programs and activities generated the most interest and were the most successful.

One guild keeps slides of all exhibit pieces in their library and makes them available to members and teachers. One guild publishes a very impressive Annual each year. One highlights a member each month, printing a photo and extensive biography of that member in the newsletter. Several guilds exhibit and promote calligraphy at commercial sites, such as large bookstores, and one hosted a "Discovery Day" to inform the public and to attract new members. Most exhibit in a library or art store. I believe we are the only guild with access to an actual gallery for our exhibits. One guild held a book discussion during one meeting and explored the ideas in an art book that the members had read in advance. One guild printed t-shirts for their fundraiser. Several guilds took private tours of special collections in libraries and museums.

All of the guilds struggle with the issue of active participation by a majority of members. One of the guilds has not had a major workshop in five years because of lack of consensus among the members, and at least one guild has had no mini-workshops in the past one to two years because they could not convince anyone to be mini-workshop chairperson. One guild had to cancel a major workshop because of inadequate advance sign-up. One guild donated its library to the public library, only to find that a short time later many of its valued, out-of-print books had been signed out and never returned. Most guilds have peaks and dips in their membership rolls, but have managed to maintain an average steady membership.

We are a lucky Guild at the moment. Our membership is strong in numbers and currently interested in all of our on-going activities. I counted heads at our last meeting, and we had over twenty people present for the Early Bird, and nearly fifty for the meeting. We're an exciting group with a wonderful diversity of interests and skills. I'm constantly amazed by the sheer numbers of people who enjoy the alphabet as much as I do! The best way for us to maintain our current level of activity and interest is that each of us participate in the Guild as much as possible, donating time and energy as much as we are able. Every little bit helps us to continue to grow as a Guild, and that helps each of us to grow as calligraphers and artists.