New
New
Letters Cali Style 2026 - Modern Pen Madness - Carl Rohrs
Item #:
LCS26-Rohrs
More info: https://societyforcalligraphy.org/Conferences
Modern Pen Madness : Extensive Pen Techniques - Carl Rohrs
CLASS DESCRIPTION:
This workshop is all about all the ways of getting the most from a flat pen. A heightened awareness of pen-angle choices in unexpected places, the most tasteful and powerful ways to use manipulation and the gigantic new world of possibilities open to calligraphers when the pen begins to lift off of the paper.
A finer awareness of pen angle can give us a greater range of feel and weight. Pen manipulation is a technique that can bring a lovely fluidity and richness of line-weight subtitles, but can be a dangerous move that shifts weight to the wrong parts of a letter if not utilized with conscious intent, so we’ll explore that. Finally, a more delicate sense of the contact between pen and paper and the control of the bead of ink that is in-between opens a box of myriad possibilities: using & losing contact with the paper for unusual stroke shape and a controlled ragged line. The four basic lifts and flicks for the edges of our letters and the many ways of combining them for unlimited control. There is a different sense of delicacy about your writing when the full width of the pen doesn’t get a chance to make its mark, and a more powerful kind of contrast when a full contact stroke is combined with pen corner details.
Put simply, we’re trying to show you everything in the bag of tricks: bounce, angularity, rhythm, compression, ragged edges, rocking, strokes that taper, and new ways of thinking about terminals. Split letters with split pens & split letters with normal pens. Appreciating the full & hidden potential of flat calligraphy pens for modern as well as classic work, including the full range from thick-&-thin to monoline, with the power to use every stop in between. Feeling the paper through the pen.
No letter style will be off-limits: caps, uncial variations, bookhands, italics — even a little blackletter. Every hand will respond to these techniques. Also, a ruling pen’s whole existence is based on controlling its edge contact, so that can be something to explore for those interested.
Also included will be unusual work for inspiration. There are so many fountains of letterform possibilities from heroes of the past to explore and combine with any of these techniques to transform them into your own new styles. Your fat workbooks will contain a healthy sampling. This information and these techniques will be useful for all alphabets, and there will b introduction to many new refinements of all types of styles.
SKILL LEVEL: The class will offer useful information for all levels of experience, including both adventurous beginners and seasoned pros.
Supplies:
A large-ish pen:
• Horizon (folded brass flat pen) 5/16” or 3/8” or similar (Coits or Hiros), my favorite by far
or
• Automatic, size 3A, 4, or 4A
or
• Pilot Parallel Pen, 6mm size (blue cap)
plus
your favorite pens you already have.
Non-Waterproof Ink
Large paper with a bit of texture; I like Strathmore Charcoal pad (300 series, yellow cover.
Canson Charcoal is NOT good for pen work — it bleeds. Strathmore doesn’t. Diploma Parchment is great.)
Pencil (&/or a colored pencil or two - Prismacolors are the best) and ruler.
Optional: Ruling pens.
CARL’S LETTERING WORKBOOK - approx. $50.00, final price to be determined.
If you have any questions about this supply list, please message Carl at rohrs@baymoon.com
Modern Pen Madness : Extensive Pen Techniques - Carl Rohrs
CLASS DESCRIPTION:
This workshop is all about all the ways of getting the most from a flat pen. A heightened awareness of pen-angle choices in unexpected places, the most tasteful and powerful ways to use manipulation and the gigantic new world of possibilities open to calligraphers when the pen begins to lift off of the paper.
A finer awareness of pen angle can give us a greater range of feel and weight. Pen manipulation is a technique that can bring a lovely fluidity and richness of line-weight subtitles, but can be a dangerous move that shifts weight to the wrong parts of a letter if not utilized with conscious intent, so we’ll explore that. Finally, a more delicate sense of the contact between pen and paper and the control of the bead of ink that is in-between opens a box of myriad possibilities: using & losing contact with the paper for unusual stroke shape and a controlled ragged line. The four basic lifts and flicks for the edges of our letters and the many ways of combining them for unlimited control. There is a different sense of delicacy about your writing when the full width of the pen doesn’t get a chance to make its mark, and a more powerful kind of contrast when a full contact stroke is combined with pen corner details.
Put simply, we’re trying to show you everything in the bag of tricks: bounce, angularity, rhythm, compression, ragged edges, rocking, strokes that taper, and new ways of thinking about terminals. Split letters with split pens & split letters with normal pens. Appreciating the full & hidden potential of flat calligraphy pens for modern as well as classic work, including the full range from thick-&-thin to monoline, with the power to use every stop in between. Feeling the paper through the pen.
No letter style will be off-limits: caps, uncial variations, bookhands, italics — even a little blackletter. Every hand will respond to these techniques. Also, a ruling pen’s whole existence is based on controlling its edge contact, so that can be something to explore for those interested.
Also included will be unusual work for inspiration. There are so many fountains of letterform possibilities from heroes of the past to explore and combine with any of these techniques to transform them into your own new styles. Your fat workbooks will contain a healthy sampling. This information and these techniques will be useful for all alphabets, and there will b introduction to many new refinements of all types of styles.
SKILL LEVEL: The class will offer useful information for all levels of experience, including both adventurous beginners and seasoned pros.
Supplies:
A large-ish pen:
• Horizon (folded brass flat pen) 5/16” or 3/8” or similar (Coits or Hiros), my favorite by far
or
• Automatic, size 3A, 4, or 4A
or
• Pilot Parallel Pen, 6mm size (blue cap)
plus
your favorite pens you already have.
Non-Waterproof Ink
Large paper with a bit of texture; I like Strathmore Charcoal pad (300 series, yellow cover.
Canson Charcoal is NOT good for pen work — it bleeds. Strathmore doesn’t. Diploma Parchment is great.)
Pencil (&/or a colored pencil or two - Prismacolors are the best) and ruler.
Optional: Ruling pens.
CARL’S LETTERING WORKBOOK - approx. $50.00, final price to be determined.
If you have any questions about this supply list, please message Carl at rohrs@baymoon.com
