Denis Brown

Ewan Clayton

Ward Dunham

Thomas Ingmire

Stan Knight • • •

Charles Pearce

Carl Rohrs

Michael Sull

Diane von Arx

Julian Waters

Sheila Waters



Evening Programs


J U N E  2 5 — J U L Y  2  •  2 0 0 6

Trinity Lutheran College • Issaquah, Washington

Stan Knight first encountered writing, illuminating, and lettering half a century ago at Leeds College of Art in England. Studying with Thomas Swindlehurst (a student of Edward Johnston), Stan became intrigued by the history of calligraphy, and he is now an acknowledged authority on the subject. In addition to his highly-acclaimed survey, Historical Scripts, he has written extensively for Letter Arts Review and many other journals.

Stan has been an Art College professor for thirty years—enthusing his students about drawing, painting, lettering, typography, illustration, printmaking, bookbinding, and life. Since moving to Idaho he has quickly developed skills with a chain saw and a handgun.

Marvelous & Wonderful
The display capitals of the Lindisfarne Gospels • 2 and 1/2 days

In the justly famous 8th-century manuscript of the Lindisfarne Gospels there are a number of spectacular, decorated pages, including six Incipits—special treatments for the opening words of each Gospel.

These Incipits, the first few letters, much enlarged and very ornately rendered, are followed by a fascinating and wildly imaginative range of capitals—Roman forms mixed and matched with Uncial or Half-uncial letters, and with some strange Rune-like capitals. And watch out for some extraordinary ligature combinations.

Studying these marvelous letters will open up a whole new range of possibilities when using display caps and will, incidentally, provide a pertinent perspective on the classical Roman forms.

  • Supplies:
    Pens: Mitchell #6; Micron Pigma black 01 and 03, Micron Pigma red 05 and 08.
    Pencils: variety including 4H and 2B; eraser; ruler.
    Gouache: several colors, including black; mixing palette (small) and mixing brush.
    Brush: #2 pointed watercolor sable (or sable/nylon mix).
    One large sheet of good quality paper (may fold in half for travel); 90# hotpress watercolor paper or Fabriano Ingres (ivory color) recommended.
    Short texts of your own choosing (10-20 words each).
    Supply fee: $2.50 (for high quality repros of the Lindisfarne Gospels;
    tracing vellum, etc)
    Students should have a copy of 'The Lindisfarne Gospels' by Janet Backhouse; those enrolled will get information on obtaining this out-of-print book.

Upper-Crust Lowercase
Experimenting with built-up minuscules • 2 and 1/2 days

Click to enlarge

Using double-strokes of the pen to create elegant titling capitals (like versals) is now a well-established practice. But the envelope can be pushed! The principles governing the construction of built-up capitals can also be applied (surprise! surprise!) to minuscule letters—to great effect. And thus, our lowercase letters can be taken to a new ‘uppercrust’ level!

In this class we will review the basic principles of built-up letters, devise a set of minuscule forms which lend themselves to double-stroke construction and then explore the immense design possibilities inherent in such letters.

  • Supplies:
    Pens: Mitchell #4 and #5; Micron Pigma black 01.
    Pencils: variety including 2B; eraser; ruler.
    Gouache: several colors, including black; mixing palette (small) and mixing brush.
    One large sheet of good quality paper (may fold in half for travel) Fabriano Ingres (ivory color) recommended; several small sheets of coldpress watercolor paper.
    Texts of your own choosing (25-50 words each).

  • Katherine Malmsten & Karen Kant, Co-Directors
    Contact: Katherine, 425-821-7919; or Karen, 253-589-3994