$500 - Earlybird
$560 - General
9.00am - 4.30 pm
A3 pad of tracing paper, Graph Paper, 2 erasers. Both Kneadable, and conventional, 2B lead pencils preferably a clutch pencil either . 7 or .5
Previous experience as a calligrapher is not necessary, as lettering involves DRAWING. The intensive is suitable for people new to lettering, and an excellent introduction to how lettering works. However - some drawing experience IS RECOMMENDED. If you have never drawn at all, a basic course in copperplate or brush script will help.
“Premium” is the name of Australia’s first Script Lettering Class that teaches the amazing process that you need to tailor really special “Premium” Script Lettering for Logos, Packaging, Editorial Work, Premium Signage, and Brands. You won’t be able to glean these special secrets in any other class, or graphic design program, nor in any calligraphy society in Australia.
Way back in 2012 before Brush Pen Calligraphy saturated the visual landscape, OSNS was born to teach hand lettering based on true craftsmanship which takes time, imagination and risk, and since then numerous calligraphy, sign painting, and brush script calligraphy teachers have followed suit in Melbourne, many having started their gig here at OSNS as students or teachers. OSNS continues to set trends having now taught copperplate calligraphy and brush script letterforms to over one thousand students in its space dedicated to teaching Type only. In 2017, OSNS is still leaping forward catering for those who prefer to make trends not follow them, in what has become the golden age of typography.
This intensive weekend lettering course offers a precious opportunity for you to be one of the first to follow in the steps of Australia’s new lettering leaders: Casey Schuurman, Monique Morin and Madeline Denys who attended our first script class in March, and are busy creating amazing and unique script wordmarks for signage, logos, and lettering projects (pictured below). Why get left behind? (please note that some of these drawings have been vectorized in illustrator – which is actually the easier part of the equation).
Lettering is different to calligraphy but does stem from calligraphy. Calligraphy itself is “beautiful writing”, that depends on bodily gesture and skill in nailing a stroke in one shot. Lettering, however, is very much about design itself and involves drawing a word carefully in pencil, then using an eraser and layers of tracing paper to edit and refine the wordmark until it sings. It can then be vectorised if you wish. Lettering is very much about designing and adapting the style of the letters and the way they sit together, while calligraphers often work in a more automated fashion without altering and tailoring the look of their letters as do letterers. Sometimes calligraphers can become formulaic locked into a style they like, and many are often challenged by creative designerly constraints. Most of the magazines, movie titles and book cover titles from pre-1970 were hand lettered in Graphic Arts departments by highly accomplished lettering artists in a process that required a sensitive and refined eye that had been trained using the process you will learn in this class. With this in mind, you won’t need to be a calligrapher to take this course, but drawing skill and confidence is helpful. If you are not a confident drawer or never draw it is advisable to start off at a more basic level. With that in mind, people who have taken our course with low skill level have returned to our free monthly meetups for continued help, worked at the skill and had measurable improvement within 5 weeks. They are making stunning custom lettering. Here are some examples of their work.
This course goes for a full Saturday and Sunday, and is a comprehensive and structured typographic learning experience, carefully designed for incremental higher order learning, offered by Australia’s most qualified, highly knowledgeable type and lettering educator and expert in slow typographics – Veronica Grow. This unique style of learning is about providing vision as well as a skill.
The course itself actually consists of three separate modules, each with an in-depth expertly prepared lecture packed full of visuals that explain key techniques, and linking ideas, and do’s and don’ts, each devised to step students through a series of hands-on exercises. There are comprehensive lettering demonstrations sharing key techniques beamed onto a screen for a shared learning experience.
Each module includes its own expertly written and designed A5 manual which is something you will treasure as a course take away. These manuals were written and devised by Veronica Grow specifically for the course and are printed in HP Indigo for you to keep as a useful reference which includes key information, flourishing guides, and some excellent exemplars of script alphabets. They are beautiful and useful.
Manual 1 The Basics
Manual 2 Flourishing Fluency
Manual 3 Designing with Script
Script Lettering is useful and something you don’t get to learn in design School or anywhere else. Being so expressive, it is the best way to communicate quality, and luxury! For typographers and type designers, script lettering builds excellent skill, teaching you to eyeball your type and troubleshoot for spacing, alignment, and shape. (foundational for type design) Once you have the technique, you can take it in any stylistic direction that you prefer. Informal, formal, 70’s psychadellic, are just a few ideas ! If you are a calligrapher, script lettering helps you to look critically at your copperplate and make better decisions about x height, spacing and letter proportion. This will help you to be a much better calligrapher.
Script Lettering is useful for Customised Logos, Book Titles, Editorial work. For calligraphers and sign painters, it is great for customizing personal inscriptions, signage. The list is endless.
Module One – The Foundation
Starts with a fascinating and beautiful overhead presentation overview of the history of script packed with stunning examples, which are essential for you to understand traditional script. This starts in 1500’s through to 1970’s, covering the greats from the 1950’s golden ages of .lettering. It provides a comprehensive letterform construction analysis of drawn script, breaking down spacing, shapes, and essential form and strokes of this lettering process. After a demonstration, students will then put this into practice when they create their first piece of lettering. This knowledge is essential for module two and three.
Module Two Flourishing
The afternoon commences with a formal lecture that explains the difference between formal and informal script and also the essential grammar of flourishing including cartouche flourishing. Flourishing is actually a science and study of structure and space and is a very useful way to sharpen typographic skills. If you are a calligrapher, this will be immeasurably helpful to beautifying your work. Students receive their second manual, titled Flourishing Fluency, to back up the key information from the lecture. The manual contains a comprehensive visual guide including flourishing templates and many useful tricks for word flourishing.Students will complete their second lettered word, which is a flourished word.
Module three commences with a third lecture/presentation that shares models of 20th Century Advertising Spencerian, Italian Spencerian, 17th Century Ornamental Penmanship and 19th Century American Penmanship, as well as the lettering from the legendary 1970’s new York Design Studio of Lubalin Burnes and Co. which demonstrates different methods of altering and adapting basic script into exciting styles of lettering such as Spencerian, Italian Spencerian, and the very popular 1970’s Herb Luballinesque psychedelic lettering ! (so cool and on trend now) The presentation also introduces students to the inspiring work of some of the world’s leading script lettering artists such as Ricardo Rousselot.
Students will receive their third manual booklet packed with interesting and creative exemplars that they need to create exciting work, and then go on to design their own creative wordmark that draws on a technique of their choice. This could be traditional or highly experimental.
Receive monthly updates on classes, typography news and journal posts.