Weaving Words with Marina Soria

$405.00

An attempt to blend calligraphy and the textile arts.

In the words of the famous Argentine historian, Ruth Corcuera, “Textile art will be the means to tell us through colours and designs that the world can be read through symbols, as in a written text. Inspired in traditional textiles, we will try to rescue their weaving technique, designs, graphics and colour palettes. We will search for the colour scheme, predominant & complimentary colours and accents. We’ll analyze their designs, the character of line and drawings, the texture and pattern in order to mingle and blend calligraphy with the textile arts.

It’s my intention to share with you my own experimentations and findings and hope you will find new solutions to you calligraphic compositions from this new perspective.

Let’s start weaving words!

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About the Instructor

Born in Buenos Aires, Argentina in 1961. Degrees in Fine Arts (5 years studies) and Graphic Design (3 years studies). She began lecturing on Graphic Design and Editorial Design in the University of Buenos Aires, and latter on as an Associate Professor in Typography, 1998.

After giving birth to her third daughter, she resigned from university and started her education on calligraphy. She has attended five International Calligraphy Conferences in the USA and three in Europe, taking courses with well known calligraphers such as Thomas Ingmire, Brody Neuenschwander, Ewan Clayton and Monica Dengo, amongst others.

In 2003 she was awarded with the ACA‘s scholarship. In 1997 she founded “Calígrafos de la Cruz del Sur” (Southern Cross Calligraphers), the first Calligraphic Guild in South America.

She has received national & international awards and exhibited her pictorial and calligraphic works in Argentina, Uruguay, USA, Spain, Japan, Germany, Russia and Norway. Her works are part of the Contemporary Museum of Calligraphy in Russia, the Hans-Joachim Burgert´s Collection in Berlin, the Klingspor Museum & the Hoefer Archive in Offenbach, the Arezzo Public Library, the Latin American Collection for the Yale University, the Savannah and Otis Colleges of Arts, the Baylor University and the Harrison Collection at the Newberry Public Library in SF amogst other private collections around the world.

She has published articles in specialized magazines and her works may be seen in LAR Annuals, Bound & Lettered (USA), Novum (Germany), Typo (Mexico), several Argentine magazines and webpages. In 2013, her work was extensively featured in Letter Arts Review: 26:3.

At present she works as an experimental calligrapher and an artist, and continues to teach in her own studio and abroad. In 2013 she organized the 1st International Experimental Calligraphy workshop in Buenos Aires, “Calligraphy in blossom”. Since then, she has been teaching abroad: 2014 Florence, Italia. Portland, Salem, Los Angeles. 2015, Sonoma, San Francisco, Houston, Seattle, San Antonio in USA. 2016 Niederaichbach & Bad Sodem in Germany & in 2017 in the Summer School in Winter conference in Melbourne, Australia.

Her main interest is to mingle and blend diverse disciplines: art, textile art, graphic design, sumi-e and calligraphy to challenge the limits of conceptual art and technique. Her strength lies on her creativity.

www.facebook.com/marinasoria.calligraphic.art

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www.marinasoria.com.ar

Materials List

There will be a $5.00 – $10.00 supply for this class.

TOOLS:  Some of your favourite tools: ruling, cola, folded, parallel and/or automatic pens. Copperplate, Speedball B, and special effect nibs like the Mitchell/Rexel scroll, or music nibs.

Several round brushes for painting and writing. Numbers between 2 & 6. Pentel brush.

Dropper or pipettes.

Artliners applicator (used by Yukimi) or syringe with needle.

Watercolour or gouache in tubes or pans in the colours of your textiles. No more than 6 colours plus white and walnut ink. i Two buckets for water, for pale & dark colours.

Palette to prepare colours and a pipettes to collect them.

Five containers with lids to store prepared colours

Any type of device to prevent tools and brushes from rolling all over the place.

Pencil, eraser.

Paper tape, UHU glue stick, double stick tape

Masking fluid

Coloured pencils – if water soluble, better.

A portable light table would be very useful. If you don’t have one you could bring, a portable easel with a light underneath to be able to trace in a comfortable way would work

PAPER: Some sheets of your favourite layout paper.

Twenty sheets of paper – A4, letter, or approximately the same size depending on the best use of your paper. You could either purchase a block, or have your pages cut in advance from an Arches Text Wove sheet. From a sheet of 22” x 30” you get 8 pages of 8” x 11”. If not, consider a light weight watercolour paper with a smooth surface. Light paper is anything less than 140 lb/300 gsm

A couple of sheets of tracing paper.

Paper towels or rags.

MISCELLANEOUS OR MATERIALS WE COULD OR NOT USE:

Fine liners like Micron, Edding, drawliner or anything similar.  Embroidery needle & thread.

Fusible bond, heat & bond.

Extra nibs to stick, sew, or glue to your work.

Finally, by the end of the workshop, I will ask you to colour copy on a good quality paper, maybe the Text Wove, a couple of your works to weave them together. You will then need:

A soft (A4/letter or approximate size) cardboard, 2 or 3mm thick, glue stick, straight edge metallic ruler & sharp cutter.

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