Member's Profile - Sue Quayle
When did you become interested in calligraphy?
In 1983, a few months after the National Gallery opened, it was noticed that the ‘Visitors Book’ needed a description written for the occasion of the opening which had occurred in the previous October. It was decided that I was the person to whom this task would be given because I had good hand writing and would therefore be able to produce the calligraphy necessary for the page. What they didn’t tell me was that the page had already been signed by the Queen and I just had to write above! I didn’t think they’d call her back if I got it wrong so it was a very stressful time spent trying to produce a few words that were acceptable. Needless to say…when I looked back at that page years later…oh dear! I’m not sure if I was really interested in calligraphy as such but I loved the look of a well written page and was asked to continue writing in the ‘book’. I was very pleased when I heard that there was to be a meeting of people in the Jamison Centre, in 1986, who were keen to get a ‘calligraphy’ group started.
Who are the calligraphers who influenced your calligraphy? Has that changed? Who are they now?
There are so many and not all are international!
At the start of my calligraphy ‘journey’, I didn’t know any calligraphers but I came to admire Ricky Edmunds for his talent and attended his classes for a couple of semesters. I was also inspired by Dave Woods and visited his lovely home on the South Coast, when he lived there and had exhibitions fairly regularly. I am now influenced by many calligraphers, with Gemma Black being one I love to follow. We started together, but she has done such wonderful things with her calligraphy and I’m in awe of her achievements. I have recently (last year, 2018) begun lessons with Angela Hillier because I needed to improve my skills. Angela is dedicated to teaching calligraphy and has a loyal and deserved following of students. Besides her calligraphy, I admire her artistic talents. She is a treasure!
Are there any other artists who have influenced your calligraphy?
Olive Bull is someone whose workshops I’ve really enjoyed for their challenges and Elaine Witton inspires her followers to extend their thinking. Calligraphers I’ve never met but whose work I admire are Amity Parks and Marina Soria. Many other calligraphers whose work I admire will continue to challenge me to better things.
What are the best/stand out calligraphy courses you have attended and why?
I attended a six week course in 2009 with Gemma Black on Illumination. I loved it because it involved a fair bit of freehand work and drawing. Unfortunately, I haven’t produced many illuminated pieces since then but it remains as something I would love to study further….
What are your favourite tools and why?
I have so many favourites! I guess graphite (we used to call them ‘lead’) pencils would be up there and I love my collection of nibs which I’ve collected over many years. Some of them belonged to my wonderfully clever mother who was a ‘ticket writer’ and artist. My brushes, I love, because I can not only write with them but paint as well. Coloured pencils, pastel pencils...I could go on!
What are your favourite scripts and why?
I’ve always had a leaning toward Italic. Perhaps because that seemed the most natural and closest to my own handwriting. Since beginning Angela’s classes though, I’ve enjoyed learning Uncial correctly and now see where I can improve. I do like the look of a handwritten page and either of these scripts, done well, look lovely.
What is the most challenging script or course you have attended? Do you have examples of this?
I’m ashamed to say that the most challenging script I’ve attempted to date is the one I learned at school…copperplate! I thought I was once quite good at it but over the years I seem to have forgotten the skill? The examples I have of my last attempt are not going to be shown any time soon but I intend working to improve this.
What are your current projects?
I’m working on ideas for the exhibition planned for the end of this year (2019). With a theme as wide spreading as gardens and lettering it shouldn’t be too difficult. Also, doing my homework is often an interesting ’project’ in itself. Trying new tools and inks, paints and pencils is something I like to spend time doing.
Have you observed major changes in the calligraphy world from when you first started calligraphy?
The world of art and calligraphy seem to have melded in ways not tried or accepted when I began. It was much more formal and though I think a good grounding in the basic scripts is really helpful, I love to see what fun can be had with letters used as art.
Biography
When I started school (Bathurst), I loved the writing part! I think my parents would have been happier if I had taken a bit more notice of the content of my books and not so much about making them look beautiful. I won a scholarship to art school in Sydney which began a career in the art world which took many turns. A move to Canberra in 1965 meant that I couldn’t continue the same course so I took up a position as a trainee graphic artist at the ANU with the visual aids department.
Next was a move back to Sydney and employment with the State Planning Authority as a tracer which required technical drawing and handwriting skills. While there I was transferred to the section that used artists to draw ‘proposed’ buildings onto photographs which were then printed in newspapers to show changes to the skyline.
Back to Canberra and I began working with National Mapping on the Census and after that in Aero Chart Mapping where I produced maps for pilots – detailed work with a focus on accuracy.
Then a few lovely years out of the workforce to concentrate on my, then little, boys.
In 1982, before it opened, I applied with the required handwritten application, for the job of accessions marker at the National Gallery of Australia. This called for handwritten numbers to be inscribed onto artworks in the collection across all mediums. After eight years I moved into the ‘Exhibitions’ department where I was involved with the designing and hanging of exhibitions. It was during this time that I was approached as a likely person to produce the calligraphy needed for official events and presentation. I developed a love of calligraphy and with a ‘Rotring’ set of pen and nibs, which I bought in a shop in Munich. I was inspired to continue.
It was so exciting to find out that there was to be a meeting of like-minded people in Jamison in 1986 where our society began. I took lessons in watercolour, which is my other love, for thirteen years so that I could incorporate it with calligraphy.
Only recently have I taken up calligraphy lessons again, because I know there is so much more I can learn and so many areas where my skills can improve. Who knows when the two will come together but for now I am enjoying calligraphy and plan to for many years yet.
In 1983, a few months after the National Gallery opened, it was noticed that the ‘Visitors Book’ needed a description written for the occasion of the opening which had occurred in the previous October. It was decided that I was the person to whom this task would be given because I had good hand writing and would therefore be able to produce the calligraphy necessary for the page. What they didn’t tell me was that the page had already been signed by the Queen and I just had to write above! I didn’t think they’d call her back if I got it wrong so it was a very stressful time spent trying to produce a few words that were acceptable. Needless to say…when I looked back at that page years later…oh dear! I’m not sure if I was really interested in calligraphy as such but I loved the look of a well written page and was asked to continue writing in the ‘book’. I was very pleased when I heard that there was to be a meeting of people in the Jamison Centre, in 1986, who were keen to get a ‘calligraphy’ group started.
Who are the calligraphers who influenced your calligraphy? Has that changed? Who are they now?
There are so many and not all are international!
At the start of my calligraphy ‘journey’, I didn’t know any calligraphers but I came to admire Ricky Edmunds for his talent and attended his classes for a couple of semesters. I was also inspired by Dave Woods and visited his lovely home on the South Coast, when he lived there and had exhibitions fairly regularly. I am now influenced by many calligraphers, with Gemma Black being one I love to follow. We started together, but she has done such wonderful things with her calligraphy and I’m in awe of her achievements. I have recently (last year, 2018) begun lessons with Angela Hillier because I needed to improve my skills. Angela is dedicated to teaching calligraphy and has a loyal and deserved following of students. Besides her calligraphy, I admire her artistic talents. She is a treasure!
Are there any other artists who have influenced your calligraphy?
Olive Bull is someone whose workshops I’ve really enjoyed for their challenges and Elaine Witton inspires her followers to extend their thinking. Calligraphers I’ve never met but whose work I admire are Amity Parks and Marina Soria. Many other calligraphers whose work I admire will continue to challenge me to better things.
What are the best/stand out calligraphy courses you have attended and why?
I attended a six week course in 2009 with Gemma Black on Illumination. I loved it because it involved a fair bit of freehand work and drawing. Unfortunately, I haven’t produced many illuminated pieces since then but it remains as something I would love to study further….
What are your favourite tools and why?
I have so many favourites! I guess graphite (we used to call them ‘lead’) pencils would be up there and I love my collection of nibs which I’ve collected over many years. Some of them belonged to my wonderfully clever mother who was a ‘ticket writer’ and artist. My brushes, I love, because I can not only write with them but paint as well. Coloured pencils, pastel pencils...I could go on!
What are your favourite scripts and why?
I’ve always had a leaning toward Italic. Perhaps because that seemed the most natural and closest to my own handwriting. Since beginning Angela’s classes though, I’ve enjoyed learning Uncial correctly and now see where I can improve. I do like the look of a handwritten page and either of these scripts, done well, look lovely.
What is the most challenging script or course you have attended? Do you have examples of this?
I’m ashamed to say that the most challenging script I’ve attempted to date is the one I learned at school…copperplate! I thought I was once quite good at it but over the years I seem to have forgotten the skill? The examples I have of my last attempt are not going to be shown any time soon but I intend working to improve this.
What are your current projects?
I’m working on ideas for the exhibition planned for the end of this year (2019). With a theme as wide spreading as gardens and lettering it shouldn’t be too difficult. Also, doing my homework is often an interesting ’project’ in itself. Trying new tools and inks, paints and pencils is something I like to spend time doing.
Have you observed major changes in the calligraphy world from when you first started calligraphy?
The world of art and calligraphy seem to have melded in ways not tried or accepted when I began. It was much more formal and though I think a good grounding in the basic scripts is really helpful, I love to see what fun can be had with letters used as art.
Biography
When I started school (Bathurst), I loved the writing part! I think my parents would have been happier if I had taken a bit more notice of the content of my books and not so much about making them look beautiful. I won a scholarship to art school in Sydney which began a career in the art world which took many turns. A move to Canberra in 1965 meant that I couldn’t continue the same course so I took up a position as a trainee graphic artist at the ANU with the visual aids department.
Next was a move back to Sydney and employment with the State Planning Authority as a tracer which required technical drawing and handwriting skills. While there I was transferred to the section that used artists to draw ‘proposed’ buildings onto photographs which were then printed in newspapers to show changes to the skyline.
Back to Canberra and I began working with National Mapping on the Census and after that in Aero Chart Mapping where I produced maps for pilots – detailed work with a focus on accuracy.
Then a few lovely years out of the workforce to concentrate on my, then little, boys.
In 1982, before it opened, I applied with the required handwritten application, for the job of accessions marker at the National Gallery of Australia. This called for handwritten numbers to be inscribed onto artworks in the collection across all mediums. After eight years I moved into the ‘Exhibitions’ department where I was involved with the designing and hanging of exhibitions. It was during this time that I was approached as a likely person to produce the calligraphy needed for official events and presentation. I developed a love of calligraphy and with a ‘Rotring’ set of pen and nibs, which I bought in a shop in Munich. I was inspired to continue.
It was so exciting to find out that there was to be a meeting of like-minded people in Jamison in 1986 where our society began. I took lessons in watercolour, which is my other love, for thirteen years so that I could incorporate it with calligraphy.
Only recently have I taken up calligraphy lessons again, because I know there is so much more I can learn and so many areas where my skills can improve. Who knows when the two will come together but for now I am enjoying calligraphy and plan to for many years yet.
Member's Profile - Jill Robertson
When did you become interested in calligraphy?
I first held a calligraphy pen when I was 11 or 12 at a school in England. I was fascinated by the way holding the pen at a constant angle made all those wonderful shapes! Then it was not until I was in my late 30s that I was able to take up calligraphy as I wanted a hobby that had nothing to do with relating to people! At the time I was a marriage counsellor and that could get pretty intense!
Who are the calligraphers who influenced your calligraphy? Has that changed? Who are they now?
I think the people who influence my calligraphy are usually the leader of the latest workshop I have attended! Thankfully we have had some wonderful teachers in Australia over the years. In my first year of learning calligraphy – 1984 – we had a visit from Donald Jackson, and although I didn’t go to a workshop with him, I went to his public lecture at the Mitchell Library in Sydney and was hooked! My first tutor was Helen Warren and she helped me to see I could do calligraphy!
From my own experience of overseas tutors I think of Denis Brown and Anne Hechle, but also our Australian tutors – especially Gemma Black, Elaine Witton, Olive Bull and Deirdre Hassed.
I also love the work of Timothy Botts. He is not someone I have met, but I love the fact that he doesn't rely on artistic illustrations to show the meaning in his words - it is all in the way he writes them.
Are there any other artists who have influenced your calligraphy?
I just love the Celtic artwork from ancient times and am fascinated by the intricacies of their designs.
What are the best/stand out calligraphy courses you have attended and why?
In the late 1980s I went to a 4 day course with Charles Pearce. That was the first intensive course I had attended and he covered several scripts. It was great to attend when I was new at calligraphy.
What are your favourite tools and why?
I love my Brause nibs and my Pilot Parallel Pens, because they are quite hard and I have a heavy hand and they don’t collapse under pressure! As a contrast I also love the copperplate nib Brause EF66, which is quite tricky to control but makes wonderful contrasting thick and thin strokes. I also like using balsa wood as a contrast to pen work.
What are your favourite scripts and why?
My favourite script is definitely italic. I find it just happens when I pick up a calligraphy pen and start to write! It is a great script for formal work and for casual work, for large letters or small letters. I also like uncial, as that is a great connection with Celtic work. It is easy to pick up and can be written on straight or curvy lines or in spirals and circles and always looks neat.
What is the most challenging script or course you have attended? Do you have examples of this?
I found the workshop with Massimo Palello in 2013 to be challenging but immensely rewarding. Getting the hang of his free-flowing extended lines took a bit of getting used to, but the ah – ha moment that followed was worth it all.
What are your current projects?
Nothing special at the moment – wondering what to do at our Jindabyne retreat!
Have you observed major changes in the calligraphy world from when you first started calligraphy?
Calligraphy has now become much more of an art-form, rather than a way of producing “beautiful writing”. I marvel at the pieces I see in magazines and realise I am still just a competent “beginner”!
Member's Profile - Angela Hillier
We are encouraging members of the society to share with us their calligraphic journey. Our first volunteer is Angela Hillier. Thank you Angela.
When did you become interested in calligraphy?
At Portsmouth College of Art as a full time student, studying Design, Publicity and Display, UK.
Who are the calligraphers who influenced your calligraphy? Has that changed? Who are they now?
Tom Gourdie, Edward Johnston. Donald Jackson, (St John’s Bible), Derek Tickle, initially. Now Brody Neuenschwander, Amity Parks, Jan Pickett, Massimo Pollelo.
Yes, it has changed with much more freedom for self expression and use of mediums.
What are the best/stand out calligraphy courses you have attended and why?
Foundational Hand in UK with Derek Tickle. It gave me a thorough grounding in calligraphy generally. Brody in SSiW encouraged me to take risks (scribing on fabric, etc.)
What are your favourite tools and why?
Ruling and Horizon pens for the freedom and flexibility they give.
What are your favourite scripts and why?
Don’t have one - maybe the one I am working on now!
What is the most challenging script or course you have attended? Do you have examples of this?
Amity Parks, SSiW - graphite
What are your current projects?
Preparation for 24 students working at many different levels from ‘raw’ beginners to advanced, Lake Ginninderra College, term 3.
Have you observed major changes in the calligraphy world from when you first started calligraphy?
Yes, there is much more room for freedom of expression and almost any medium can be used; anything from milti-layered collage to house paint.
Angela is a founding member of the Canberra Calligraphy Society (CCS) and a Life Member.
In the UK she studied Design Publicity & Display, watercolours and calligraphy and worked as a Visual Aids artist
at the Central Electricity Generating Board and on the display team at a large department store.
She has studied extensively with local, national and international tutors, as well as tutoring at ACT colleges,
22 at Lake Ginninderra College.
She is scribe to the ACT Chief Minister, the Governor-General, House of Representatives and Senate and various Prime Ministers.
When did you become interested in calligraphy?
At Portsmouth College of Art as a full time student, studying Design, Publicity and Display, UK.
Who are the calligraphers who influenced your calligraphy? Has that changed? Who are they now?
Tom Gourdie, Edward Johnston. Donald Jackson, (St John’s Bible), Derek Tickle, initially. Now Brody Neuenschwander, Amity Parks, Jan Pickett, Massimo Pollelo.
Yes, it has changed with much more freedom for self expression and use of mediums.
What are the best/stand out calligraphy courses you have attended and why?
Foundational Hand in UK with Derek Tickle. It gave me a thorough grounding in calligraphy generally. Brody in SSiW encouraged me to take risks (scribing on fabric, etc.)
What are your favourite tools and why?
Ruling and Horizon pens for the freedom and flexibility they give.
What are your favourite scripts and why?
Don’t have one - maybe the one I am working on now!
What is the most challenging script or course you have attended? Do you have examples of this?
Amity Parks, SSiW - graphite
What are your current projects?
Preparation for 24 students working at many different levels from ‘raw’ beginners to advanced, Lake Ginninderra College, term 3.
Have you observed major changes in the calligraphy world from when you first started calligraphy?
Yes, there is much more room for freedom of expression and almost any medium can be used; anything from milti-layered collage to house paint.
Angela is a founding member of the Canberra Calligraphy Society (CCS) and a Life Member.
In the UK she studied Design Publicity & Display, watercolours and calligraphy and worked as a Visual Aids artist
at the Central Electricity Generating Board and on the display team at a large department store.
She has studied extensively with local, national and international tutors, as well as tutoring at ACT colleges,
22 at Lake Ginninderra College.
She is scribe to the ACT Chief Minister, the Governor-General, House of Representatives and Senate and various Prime Ministers.
