Daniela Fuhrmann

Paula Doretti

María Chorra

Victoria Bianchi

Gabriela Zarich

Silvana Aisemberg

Ines Sotomayor

Selva Bianchi

Ines Buteler, Gaby Golden, Vivi Lebron

Through experimenting with strokes and excercising with the Japanese brush students transformed their gestures into letters based on flower painting. We studied the characteristics of the Taoist sumie where we do not try to paint the flowers in a realistic way but through the minimum of strokes.

We designed the rest of the letters in our alphabet to be able to write a short quote. We made colors tests and finally we build up a serpentina book.

This workshops aim was to learn some pictorial techniques on paper to enrich our calligraphic artworks. In this workshop students used paper as unique support: watercolor papers off white and dark. From all the work done in the workshop we choose three pieces to create a three dimensional book.

The techniques used were: ink, splashed, bleach and pastels, engraving with walnut ink &sumi; strokes with coloured water, and finally a simple illumination with copper, gold or silver leaves to enrich the artworks which were then bind with the japanese technique.

This workshops aim was to learn some pictorial techniques on paper to enrich our calligraphic artworks. In this workshop students used paper as unique support: watercolor papers off white and dark and even experimented with handmade papers. From all the work done in the workshop we choose three pieces to create a book.

We demonstrate techniques writing on humid paper, sealing with various textures, writing with water, splashing, using masking fluid and a very simple illumination technique to enrich our works. We used the japanese binding to create a sculpture book.

I touch this folding workshop after my experience in Arezzo last year with Cristina Balbiano, bookbinder. We learned some simple techniques of folding from a single sheet of paper which allows us to create books of different sizes and types of openings. More information

Our aim was to learn some techniques by folding papers in the Origami style. Students produced two models of envelopes in Origami. A folder carpet, Humi Huzita´s design and a book made of pockets known as Leporello, designed by Heidi Kyle.

Our aim was to learn simple Japanese bookbindings with no adhesives. This type of binding allows us to gather separate sheets of paper. Students produce several books in specific sizes with different types of stitches, models from Sue Hufton.

Thanks to Alberto Chiaramonte's folders from Rosario we could work with excellent tools.

Once again based on my clases in Arezzo with book binder Cristina Balbiano, I touch my students how to make a book with exchangeable pages known as Crown book and a simplified version of it called Blizzard book. The Crown book has seven doble pages A4 size apart from folders.

This workshop had many students amongst them Vicky Sigwald, famous papermaker and Adrian Gallardo, her assistant Cristina Balbiano

The objectives of the course were to show the students the importance of calligraphy as a solid basis when designing typographies and exploring a new way to think Calligraphy, not by copying models, but creating own models with a more original, flexible and personal view, implementing new techniques, materials and tools bearing in mind the principles of the arts.

The objectives of the course were to show the students the importance of calligraphy as a solid basis when designing typographies and exploring a new way to think Calligraphy, not by copying models, but creating own models with a more original, flexible and personal view, implementing new techniques, materials and tools bearing in mind the principles of the arts.

The former consisted of an oral narration where three important phases in the development of writing were described. This was supported by showing images and objects connected to the topic. Children left the impression of their hands, drew animals and tools, and ended reproducing letters with stamps.

The latter’s topic was: Medieval Period. The original idea was to tell the children about writing in medieval times. Copies of manuscripts were shown and we took parchment paper and bird feathers and we showed them how people wrote in those times. They were also invited to illuminate a gothic document, which we had photocopied before. Finally, they tried to replace gilding for brilliantine.

2004
Calligraphy Workshops
Letras Latinas Bienal

Within the context of Latin Letters 2004 in Centro cultural Recoleta, the Cruz del Sur Calligraphers were invited to give a series of workshops. They aimed at giving students the basics of the discipline and showing them its importance as a solid basis of typography when designing fonts.

Three workshops were organized in which students first became familiar with the tools necessary for calligraphy through experimental exercises.

Then, a series of exercises on double pencil and fundamental alphabet followed, trying to teach them the basics of flat end.

In this workshop students used only paper. Paper for watercolours, dark and light was used, and students experimented with handmade paper.

The techniques used were: ink, splashed, bleach and pastes, engraving, and oak ink and sumi; strokes with coloured water and watercolour pencils, sealed with leaves and textures; illumination with copper, gold or silver layers.

Participants used canvas, plain fabric or cardboard as surfaces to do their work looking for texture, rugosity and even relief.

In this workshop techniques were shown by the use of acrylic latex with the mixture of sand, special paper and objects.

These techniques were applied in different projects such as book covers, albums, boxes, pictures, etc.

This workshop explored new ways to create more personal and experimental alphabets.

We went deep into understanding the relationship between letters, space, scale and design, exploring the idea of system legibility, visual aspect, morphology and design.

This workshop had the objective of introducing the students into the world of calligraphy, analysing not only the formal aspects of letters and the way to do it, but also the traditional tools, means and bearing.

They learnt about the history of calligraphy, the structure and proportion of letters, the space and outline, ending with a formal calligraphy like the foundational one and its variables.

The workshop followed, in some cases, with Italic or Formal calligraphy, and with projects based on the students’ needs and interests.

The objective of this workshop was to make children aware of two calligraphic styles clearly differentiated and of the ornamentation of medieval manuscripts by observing, analysing and describing.

The ultimate objective was to make children appreciate the art involved in the different techniques used developing, at the same time, their creativity and manual skills.

The objective of this workshop was experimenting with a flat-end tool and then design a complete alphabet.

This alphabet was analysed thoroughly up to an artistic field emphasising the visual connotations of the signs and its easthetics value.

Students: Martín Abud, Oscar Aguirre, Tania Casares, Laura Chavez, Beatriz Fernández, María Laura Fernandez Eduardo Fornasari, Alejandro Geriboni, Andrea Grossy, Abigail Giménez, Vicente Lamonaca, Marcos Larghero, Andrea Montedonico, María Fernanda Nuñez, Ramiro Ozer Ami, Genoveva Pérez, Andrea Pichiny, Graciela Risso, Magdalena Sayagues, Ruth Smolovitz, Andres Takach, Gustavo Wojciechowsky.

The objective of this workshop was to experiment with a flat-end tool to then design a complete alphabet. This alphabet was analysed thoroughly up to an artistic field emphasising the visual connotations of the signs and its aesthetics value.

The first stage consisted in an approximation to the sign from basic shapes; foot and hand prints.

The second one showed the first attempts to send a message via pictures. The last stage introduced children to the occidental alphabet through the drawing of decorated letters and the use of stamps.

Classes took place in the old barn, today a museum located in the stables. The objective of the workshop was to explore strokes from its minimal expression until its full representation of a code or communication system.

Traditional, unconventional tools were used and even some of them were made by the students attending the event, using the elements provided by the environment.

Talks, demonstrations, and even a calligraphic library was set up to complete such a wonderful experience.

Students: Daniel Wolcowicz, Paola Camano, Mónica Pujol, Andrea Chiocca, Silvia Berrutti, Soledad Fontana, Marisa Kraiselburd.

The whole first term I was devoted to the introduction to calligraphy and to teaching foundational alphabet. Firstly, I had to instruct my teachers, since they were not qualified in calligraphy, although they were all graphic designers. I eventually got very good results.

To my surprise, in the final projects many students included calligraphy as a topic in their proposals.

The activities included were sculpture workshops, mural painting, painting on fabric, batik among others, and the event lasted 11 days.