Jocelyn Curry Lettering and Illustration

A Review in Photos: The Art of Drawing Maps by Hand 2019

Dumas Bay Centre in Federal Way was the first-time, urban location for The Art of Drawing Maps by Hand in 2019. The long, Pacific NW daylight hours provided our classroom with ample natural light for the hardworking 13 who took this challenging course. Meals were delivered to our private, adjoining dining room. As is typically the case once the mapmakers become immersed in their design work, many logged dawn to dark hours, making the most of the time set aside for immersion into map drawing. Here is a collection of photos (not all maps are included here) that show some of the work being done during class, and photos of some of the maps completed at home after the workshop. Please click on the photos to enlarge them. Appreciative thanks to Marilyn McGuire for supplying many of the photos shown here!

Full concentration is evident in this photo. We did have our lighter moments and Happy Hours, even.

There's a lot to cover in a relatively short time. The second day of this workshop is chock full of learning techniques.

Marie's preliminary design steps utilize tracing paper images that are ideal for tracing later.

Marie's finished map. Bright, clear and charming, it shows many natural and human-made elements within the 11"x14" map.

Above, Tim's tracing setup on his lightpad illustrates a key step in map drawing. His map is of a network of trails and other property landmarks showing visitors the way around his home.

Tim's completed map done in ink and colored pencil. This is the first such project he had ever done.

 

 

 

 

 

 

 

Yes, sunsets came and went but some soldiered on until closing time at 11 PM.

Sandy's map benefited from her R&D done prior to the workshop weekend. Her map illustrates her grandmother's journey from her small, tribal village in British Columbia by schooner to Seattle in 1923. Symbols of cultural importance add further meaning to this keepsake.

Mary's map integrates numerous memories from her childhood home. To create a lyrical, dreamlike quality, she lettered her texts in undulating lines.

Shan's map is of a favorite neighborhood in Georgetown, DC. His distinct drawing style evokes the Colonial era.

A map serving as a memoir: Gayle created an architectural-style map of her home, including all the sleeping spots enjoyed by her cat..

In this photo, most of the inking is done. Waterproof ink is used so that paint can be applied.

As an experienced "map drawer of imagined places," Pat branched out by creating many illustrations of alluring destinations on this map. He also added a voyager whose journey is mapped and labeled here.

Various ways of adding color to maps are demonstrated during the workshop.Spattering watercolor serves to add tint and texture to map areas needing accents.

Katy's map depicts her many-year journey through her education as a calligrapher. It folds up, map-style.

A custom cover and closure enclose Katy's map.

 

 

 

 

 

Anne's map was inspired by the siting of birds in the Dumas Bay vicinity. Her border designs show a solid grasp of ornamental design.

The final afternoon hours include photo ops, sharing of maps, and general levity. This group included five "grad students" from previous map workshops. My current plan is to schedule a map drawing retreat for any grads who would like to set aside a weekend to work on maps without the repeat of full instruction.

A January Workshop...for Myself!

Many years had gone by since I had taken a weekend workshop offered by a regional calligraphy guild. But when I saw the work a friend had done in a class taught by Rebecca Wild of Port Townsend, I eagerly signed up for the next one Rebecca was teaching in our area. It was held in Olympia, WA, in late January and sponsored by Nib 'N Inks calligraphy guild.

Rebecca ingeniously devised a series of projects for us based on the artistic imagery and painterly textures of 19th/20th c. painter Paul Klee. As you can see below, we worked in a 5" square format while employing calligraphic marks, layers of powdered pastel and/or liquid acrylic color, debossed texture, and small hand-lettered writing. Layers were sealed with acrylic matte medium before more texture elements were applied. 

Bold and finer sumi-e ink strokes taken from our own signature form the anchor elements here. Powdered pastel and stenciled shapes were added next.

After masking off one band of space on the paper, broad strokes of transparent acrylic color went on next. We then debossed fine designs which were then enhanced by smudging pastel into the paper and through hand cut stencils.

Working boldly with a new material, we applied heavy black oil stick after painting diluted acrylic strokes onto the paper. After tinting cold wax with powdered pastel, we thinly applied it to the paper. The last step was to use a tool to inscribe through the tinted wax for a subtle text.

For further biographical information about Paul Klée through a comprehensive, interactive web page, please visit https://www.davidzwirner.com/artists/paul-klee.

It was pure pleasure to spend two days experimenting with new art mediums and design approaches. Rebecca hands out step-by-step instructions for all the techniques she uses; there are so many, with carefully thought-out sequencing, that we were advised to keep the directions on hand when using her techniques at home! She gets my highest recommendation as an instructor.

To Make a Map

Before meeting a new group of map drawing students, I spend several days preparing teaching materials for them. There are no prerequisites for the class. Therefore, basic instruction in many different drafting and drawing skills related to drawing maps is necessary. The students never fail to impress me as they devotedly toil over every phase of their map designs. The results are so inspiring that I often take their ideas and suggestions and incorporate them in the next workshop I offer. The photos below were taken early on day 3, before the final push to finish them so what you see are not the finished products. This class was offered through the outstanding North Cascades Institute and was held June 24-26 at their beautiful Environmental Learning Center up on Diablo Lake. I have program director Katie Roloson to thank for including this class in the curriculum. Here are several examples of the participants' hard work:

 

Mary and Charlotte Minor, one of two mother-daughter pairs in this class, smile in the midst of creating their personalized maps of Puget Sound, shown above their photo. A lot of hours go into making a map so being able to smile is helpful!

Alice Hibberd designed a ship's wheel "mandala" format for her map of memories of her childhood home life. She did complete this map over the course of the last day. 

Not far from our classroom is the Deer Creek Trail, a tranquil walk in the forest. Two of the students in this group did maps of this verdant place.

Aly Gourd, our NCI assistant for the weekend, designed a cerebrally-inspired pair of maps based on a hike she took with a friend.

To map one's own home property is particularly satisfying as well as thought-provoking. What matters most? How can certain features be best rendered? This map by Sue Adams was further colored after I took this photo.

 A note to the students: please send photos of your finished maps whether yours is shown in this group or not! I'll add the images as I receive them. It was such a pleasure to work with you all.

Map of My Yard, Second Take

Offering new techniques and approaches to making maps by hand is an important part of my teaching workshops on this subject. For example, when the springtime wildflowers started blooming in my yard last year, I decided to try a mixed media version of the original wildlife pathways map I made two years ago. This map, above on the left, was created by my pacing off by foot our property and house structure. The original was done in ink and watercolor. I wanted to try something new to suggest to my 2015 "Artful Map" students at the North Cascades Institute Environmental Learning Center. ("ELC")

Buttercups, forget-me-nots and star flowers are represented on my second yard map using rubber stamped icons. The legend at the lower right itemizes these icons. In order to render a softer look to the other map elements, I used graphite and collaged pieces of vintage, commercial maps (softened first by painting a thin layer of gesso over them). The substrate paper is an Indian handmade sheet whose border was also painted with gesso for contrast and to create a surface for the graphite writing.

Are you interested in taking this unique workshop in a residential retreat location? It is scheduled for June 24-26, 2016 at the ELC: Read and Register HERE. A big bonus for those who attend my workshop will be the concurrent teaching of John Marzluff's In the Company of Corvids. Marzluff, a professor at the University of Washington, is one of the pre-eminent research scientists and teachers of corvid (crows, jays, ravens) bird behavior. Evening programs at the ELC will feature his fascinating videos and lectures. 

Please see my general page on all currently scheduled 2016 workshops HERE. 

NEW: An introductory map drawing workshop will be held in Sidney, BC (Vancouver Island) April 16 and 17, 2016. A downloadable brochure for this can be found on the 2016 Workshops page. I will post more on this soon.

Art Map Workshop(s) and Classes in 2015

The Artful Map, a One Page Nature Journal is a course held over three days at the North Cascades Institute Environmental Learning Center (NCI-LC). This year this will be June 26-28, 2015. The class is listed online and registration is open! Click here to go directly to the course description. You may also read the lodging options (these dictate the cost) on this page. 

A note about the course title: over the years that I have taught this class, I have encouraged participants to bring their own ideas for maps they would like to make. These may not have anything to do with nature journals. To me it is more important to offer a customized learning experience than to hold students to my original concept of the class. We just haven't changed the name! Going to the NCI-LC is in fact going on a retreat where you will have lots of time to immerse yourself in your work. Maps are labor intensive. The late June days are long with sunlight, allowing time for hiking, eating, walking in or sitting in the forest or by the lake in addition to your working time in the classroom.

I have posted extensively about this course. Please follow the link below to see these reviews and some of my maps done as professional assignments.

http://www.jocelyncurry.com/jocelyn_curry_calligraphy/map-design-mapmaking-classes/

 

One of four maps made for Snohomish County PUD"s Judy Reservoir water treatment plant, this map shows how geometric shapes and map graphics are enhanced by classic ink drawing and watercolor use. The client didn't want any labeling on this map so it is in effect incomplete, Labeling was to be done later, using fonts.

 

Registration for Letters of Joy, where the class below will take place, begins March 16--not before. Click on the link for Write on Calligraphers to print out the form to mail in for registration. 

The Personal Letter as Manuscript, May 1 + 2, 2015, Letters of Joy regional conference for calligraphers and artists. Sponsored by Write On Calligraphers  (WOC) of Edmonds, WA. This conference is held at Edmonds Community College in Lynnwood, WA. Classes are held all day on May 2. Keynote address, vendors and a silent auction will be held in the evening of May 1. A registration form will be available on Write On Calligraphers' website (the link above will take you there). 

The Personal Letter as Manuscript will be a two-hour class, as will all of the Letters of Joy classes. I will offer instruction and experimentation in using calligraphic fountain pens as sketching, writing, and decorating tools on personal notes and letters. An example of what I'm talking about appears below. Please check back and keep an eye on the WOC website.

A fine-tipped Shaeffer calligraphy fountain pen, colored pencils and metallic gel pen were used to write a spontaneous letter. Common manuscript elements of a top border, an initial cap and a side and bottom borders were used. No lines were drawn ahead of time; the idea is for a letter to be spontaneous in appearance.

Possible Art Map workshop in southwest Washington State/Portland, OR

There is interest in my teaching a map workshop in the vicinity of Vancouver, WA or other location convenient to those in southwest WA and Portland and nearby communities. Are you interested? Please let me know! Email me via the link in the column to the right of this one. Thank you!! I'd love to see you in class.

Workshop Notes: Versals for Everyday Use

W by Linda O'Neill

HAT are "Versals?" Simply defined, they are emphasized capital letters that are used as the first letter of text in a manuscript of any kind. The term is relatively new, having been coined by Edward Johnston, the English "father" of the modern practice of calligraphy. Versals can be slim, broad, plain, or ornamented. Historically, they were filled in with solid color either with embellishment or left plain.

For the workshop I taught in Tacoma on October 17, my lessons were based on making versals using monoline pens rather than the traditional tools (quills, primarily) used on historic manuscripts. All the students in the class showed how observant they were in following the examples I gave them. In their examples below, you can see the range of variations they came up with (click on the photo for a larger view): 

 

After carefully drawing their letters in pencil and then inking over the pencil, students applied all kinds of decorative techniques to their letters done in different sizes. The monoline pens are very user-friendly, allowing calligraphers to create these letterforms in unlimited sizes. Note: these letters are not altogether drawn with the classic proportions of Trajan Romans. I selected the word ROMANS because it incorporates several letters that require us to learn the sequence of strokes while making them.

After warming up to the letter forms by first tracing them, the participants pencilled the letters and then inked them at 1" and at 1/2" heights. They then drew them at 1/4." If needed, they could draw them at 6" or a foot, even. For smaller letters and decorations, a finer-tipped pen was used. Once the letters were inked, watercolor or colored pencil was added in gradients, patterns, or solids. The goal of learning to make these letters was to have an alphabet that can readily be used for titles, signage, journal enhancements or cards. 

Precisely drawn letters are filled with graphic embellishment by Sandra W.

I brought in several antique manuscripts* that featured various kinds of versal letters including some that were similar to the basic form we were working on. Other versals were extremely ornate, such as the penmade cadels (thank you Sandra for that term!) that show in the photo below. The group of students was interested in what I pointed out about this manuscript on vellum from about 1600 AD. It came from a religious house in Spain and was purchased by a family friend in the 1960's.

 

A monumental antiphonal manuscript is discussed during a work break. A note to my students: the four-line staff did not go extinct with the development of more complex musical forms. Rather, it was restricted to Gregorian chant while the five-line staff served polyphonic musical composition. This clarifies how one small manuscript in my possession is dated 18th c. but has four-line staffs. *A side note about availability: one can still buy such manuscripts but from collectors and galleries only. A quick search online revealed this. A more rustic single page can cost in the 100's, but a more skilled and elaborate page would be in the thousands.

 

Small (1/4"), colorful letters with added dropshadows make this line of writing stand out. Very nice work! Thank you Tacoma Calligraphy Guild, Terri Kruger, and Randi Kander for inviting me to teach and for managing the day. To my students I also give thanks and I encourage you to keep up the excellent work! (Photos by Randi Kander and Jocelyn Curry)

Part One--A Fine Collection of Maps: Workshop Review of The Artful Map 2014

Craig Campbell designed a map pertaining to the North Cascades experiences and philosophies of notable poets. 

I sense that humans have an urge to map--and that this mapping instinct, like our opposable thumbs, is part of what makes us human.  Katharine Harmon, author of books on maps.

Thirteen map designers appeared at the North Cascades Institute Environmental Learning Center on Friday morning equipped with the urge to map, and some art supplies. They left Sunday afternoon with illustrated maps that were fascinating and varied. These maps represent extensive work done during 15 hours of class time (plus, for many, some nocturnal time or pre-class early morning time). In the photos below I will show some work-ups and partially done maps as well as the completed, or nearly completed, final maps. Not all maps were fully documented by my camera; I've selected several of them to feature here.

Designing and making a map is a complex project. This group remained impressively focused with novice artists working alongside the more experienced. All the careful design and execution work paid off, as you will see in the photos. Perhaps, like Katharine Harmon (above) says, it's in our deepest nature to want to draw maps. It's just that so few of us ever actually make them. This workshop provided that opportunity. 

To view larger images, please click on them.

To read a review of this course (and more information about programs at the Learning Center) by participant Jessi Loerch of the Everett Herald, please click here.

Beginning structure of a seasonal garden map by Joan Poor.

Inkwork done with a vintage dip pen nib, India ink, and colored pencil.

Richelle Potter drafted a precise map of "Places of Happiness" from throughout her life. Subtle coloring in watercolor pencil is not yet complete in the photo to the right.

 

 

 

 

Carolyn Hopper's bison-themed map was inspired by her visits to Yellowstone's Lamar River Valley. Her clean design allows the eye to move around to discover all the fine detail.

 

 

 ...we continue to make maps. Why? Because making maps is a way of understanding. We make maps to sort out the physical world, to see its size, shape, color and texture. We make personal maps to share our experiences and travels, relationships and ideas. Jill Berry, author of Map Art Lab.

For her brilliantly colored map, Cole Adams commemorated her summer stays with her son in a fire lookout. She used a vintage dip pen with India ink and watercolor.

 

Tranquility Recorded: Nature Journaling at Padilla Bay

 

After arriving at the Bay, I took a walk through the uplands of the Reserve to design specific journaling exercises for the following day.

Nothing is rich but the inexhaustible wealth of nature. She shows us only surfaces, but she is a million fathoms deep.
EMERSON

This quote is especially appropriate for the tranquil location of the National Estuarine Research Reserve, of my July 13-14 workshop in quiet Bay View, Washington. 16 students and I gathered there to spend two days recording on journal pages some of the natural features surrounding us. Perfect summer weather, a fine classroom facility, earnest learners and plenty of delicious food (the Skagit Valley, where the Reserve is located, is Berry Central right now) combined to make a successful weekend.

 

Creating a beautiful pattern of inklines across the page, these drawings by Jude Middleton are good examples of contour drawings. Color added only to the hips, with a final spatter of watercolor overall, add richness. Journal notes finish the job; this is a perfect nature journal page!

Saturday's warm-up exercises began with a page of drawings. Blind contour drawings of the hips of Rosa rugosa (collected from a mound of them on the property) were followed by left-handed drawings of the same on the same page. Following these, the students then moved right onto fine watercolor paper with a detailed drawing of a rose hip and its clusters of leaves.

 

 

Brooke Randall's delicate pen work is enhanced by her way of applying watercolor. Using a variety of greens and yellow in foliage makes it come alive on the page. Journal pages are 6"x10" of Fabriano Artistico cold press watercolor paper.

Elle Romick's composition shows the landscape where the mound of Rosa rugosa lives. Careful placement on the page allows each design element to have significance and to enhance the others. Above the rose hip page is Jude's collage. Many of the students made these to decorate the cover of their finished journals.

After a brief lunch break, the group walked up the path to a point where we were allowed a landscape overview that included the mound of roses from which came our specimens. The rest of the day was spent developing both the hip painting and the small landscape study that joined it on the page. Lettering skills were practiced, too, with emphasis placed on overall page design.

On Sunday, the assignment for the day's work was given early on: five specific journal items were to be added to the journal on one or two pages. The examples below show the variety of choices: something from the aquarium, a detail drawing of a chosen specimen, a decorated versal letter, a small landscape, and a small map. But prior to starting our artwork for the day, most of us moved through the plentiful array of breakfast foods (shouldn't all serious work days begin with such a repast?) arranged on the buffet table:

 

Berries, nuts, home-baked items and deviled eggs courtesy of Anne's hens were among the generous spread.

Claire Russell selected beach specimens for her detail studies. Adding shadows consistently to each item enhances this collection.

 

 

 

Mary Heath rose to the challenge of designing a map that tells the story of our unique location. On the left side of the page is a view of the Bay overlook, and the eel grass rendering above the map creates the ideal top border for the map while honoring this important Padilla Bay aquatic plant.

 

Mary Siple also created a map of the Reserve and Bay, opting to feature a rockfish from the aquarium in the outstanding Brazeale Interpretive Center.

 

Mary's lugubrious rockfish becomes the humorous fellow featured in the fenestration on the cover of her journal. We all laughed!

Brenda Boardman's lively watercolor landscape was ideal for framing with a fenestration on her cover. Students chose between four colors of paper for their journal covers.

 

Kay Reinhardt rendered Barn Swallows in flight as a nod to the nesting swallows in the outdoor corridor of the Center.

Anne Middleton's delicate watercolor and fine ink lines are used here to depict studies of native plants. L to R: Salal, Elderberry, and Red Alder.

 

Our group used viewfinders to help isolate a section of the landscape that featured the distant mound of Rosa rugosa.

To all who participated in this weekend of learning, sharing, and the expanding of perception, I thank you for the chance to spend two days together and I applaud the excellent work you did. Continue to practice, practice. Special thanks go to the Padilla Bay Foundation administrator Kay Reinhardt. Thank you Libby, Anne, Mary, Nancy and Marilyn for your positive support and help in set-up, take-down, and seeing that all of our needs were met.

Daffodils, Radishes & Trees: Nature Journaling Exercises

A week ago I taught a one-day workshop, Introduction to Nature Journaling for Calligraphers. Sponsored by the Olympia, WA "Nib N'Inks" calligraphy guild, the goal for the day was to focus on seeing, sketching, labeling, and designing nature journal pages. The eleven students were exceptionally focused, producing both warm-up studies in ink, and finished ink and watercolor images on art grade paper. The day went by quickly, allowing little time to photograph, but here are some of the colorful specimen pages, followed by the landscape pages done en plein air (outside).

 

 

 

 

The assignment behind these ink and watercolor images was to draw both items, starting first with pen for the daffodil, then add paint from light to darker values. For the radish, I demonstrated how to loosely paint the color, then lightly add pen lines to generally define the forms.

 

 

 

 

 

 

These four pages above and below ( each 6"x10") particularly illustrate the individual way of seeing that we each experience. Going from drawing a daffodil and a radish to a complex arrangement of deciduous trees and conifers, outside, is a huge leap.

 

 

 

 

 

 

The students launched into this with no mention of intimidation. Beginning with rectangles in pencil, they began this exercise by laying down a watercolor wash in one of the rectangles. That dried prior to our outdoor sketching session. Back in the classroom, they drew wet-into-wet, from memory, in another of the rectangles. I love the variety of feeling each little tree portrait carries in this series. Nice work, participants!

(I'm sorry not to be able to label each piece with the artist's name. I know who did a few of these, but not all of them.)