Many students find out that the space of the workshop is the best place to work on, to learn, to find inspiration and to make true their personal projects. They can't always fit in the schedule for matters of date or time.

So in 2010, I decided to change my method and work in the way art workshops do. Students may enter whenever they want. There will be no specific theme, but each student will choose the project they would like to perform and together we will discuss the overall duration and the date and time to study.

My job will be to guide you in the process by providing the knowledge to achieve your goal, supported by notes, historic references, graphic examples and practical demos and bibliographies if nessesary.

For further information please go to complete Resume.

The Empty Space: Womb of Shape

2016.
"The Empty Space: Womb of Shape"
Intensive Workshop

November 30th till December 3rd
Buenos Aires

The empty space: womb of shape

2016.
"The empty space: womb of shape"
Schreibwerkstatt Klingspor Offenbach
Caligrafía Internacional Förderkreis

1st group: july 11 till 14, 2016
2nd group: july 17 till 20, 2016
Monastery of Bad Soden, Salmünster, Germany

The Empty Space: Womb of Shape

2016.
"The Empty Space: Womb of Shape"
Kalligrafiefreunde Niederaichbach

July 1st till 3rd
Niederaichbach, Germany

Weaving Words

2016.
"Weaving Words"
Intensive Workshop

March 16 & 17
Buenos Aires

“Experimental Calligraphy

2015.
"Experimental Calligraphy"
Centro Cultural Universitario

October 23 & 24, 2015
Tandil, Province of Buenos Aires

“Intensive course on Fundational

2015.
"Intensive course on Fundational"
Library & Museum Las Lilas

September 19 & 20, 2015.
San Antonio de Areco, prov. de Buenos Aires. Argentina.

“Empty Space: Womb of Shape

2015.
"Empty Space: Womb of Shape"
Houston Calligraphy Guildn

August 15 & 16, 2015.
New Spring Art Studio. Houston, Texas. USA.

“Espacio vacio, útero de la forma

2015.
"Empty Space: Creation of Shape"
The friends of Calligraphy (FOC)

August 8 & 9, 2015
Fort Mason, San Francisco. USA.

“Calligraphy in Blossom

2015.
"Calligraphy in Blossom"
34 th International Calligraphy Conference.

July 25 to August 1, 2015.
Sonoma State University, Northern California.

Como integrar la caligrafía a la pintura sumie.

2015.
How to blend Calligraphy and the Sumi-e painting.

February 6 till 13th
Tafi del Valle, Tucumán, Argentina.
"Acuarelas Tucumanas" group.

“Espacio vacio, útero de la forma

2015.
"Empty Space; womb of shape."

December 1st till 5th.
"Acuarelas Tucumanas" group in Buenos Aires.

Calligraphy in Blossom

2014.
“Calligraphy in Blossom”, Los Angeles, California. USA.

August 11th till August 13th, 2014
Flintridge Retreat Center. Sponsored by the Society for Calligraphy OF SOUTHERN CALIFORNIA.

Students: Victoria Kibildis, Wendy Watson-Diedrick, Jane Kim, Deborah Flores, Stephanie Chao, Margaret Spiess, Nancy Kazanjian, Carrie Imai, Britta Brice, Jackie Matosian, Janet Takahashi, Chris Ewen, Debbie Powell Barbara Close, Michelle Calaba, Sabina Bronner, Audrey Kincaid, Dorothy Yuki, Carol Johnson, Kristi Darwick

Calligraphy in Blossom

2014.
Calligraphy in Blossom, Salem, Oregon. USA.

August 4th & 5th.
Marion County Fire District 1, Salem, Oregon. Sponsored by Capital Calligraphers.

Alumnas: Christine Anderson, Carol Baumann, Katy Bayless, Judy Black, Sandi Cormier, Sylvia Giberti, Marilyn Reaves, Chris Scholz, Barbara Taylor, Tina Wenger, Twila Shirley, Sally Keeny & Penny White.

Calligraphy in Blossom

2014.
The empty space, the womb of shape. Portland Oregon. USA

August 2nd & 3rd, 2014.
Portland Community College/ Sylvania Campus, Portland Oregon. Sponsored by The Portland Society for Calligraphy.

Students: Anita Bigelow, Marian Christensen, Cora Pearl, Violet Smythe, Brigitte Stermann, Linda O'Neill, Linda Leyva, Cynthia Schubert, Nancy Pickett, Heather Barton, Harriet Rubin, Carol DuBosch, Jackie Clement, Claudia Bulaievsky, Melanie Payne, Alysa Hilton, Ingrid Slezak & Christine Olsen.

Calligraphy in Blossom

2014.
Calligraphy in Blossom, Portland, Oregon. USA.

July 30 & 31st, 2014
Church Auditorium in Vancouver, WA. Sponsored by The Portland Society for Calligraphy.

Students: Carol DuBosch, Anita Bigelow, Marian Christensen, Linda O'Neill, Linda Leyva, Bev Gilvertson, Harriet Rubin, Lorinda Moholt, Jan Skopil, Jackie Clement, Sally Penley, Barbara Artz, Melanie Payne & Ingrid Slezak.

Calligraphy in Blossom

2014
Calligraphy in Blossom, Florence, Italy.

April 12th & 13th
Bookbarnkat studios in association with ARA-IT

We had students from Germany, Switzerland & Italy: Andrea Wunderlich, Roland Steiger, Paola Zoffoli,  Makiko Niederstrasser, Relindis Passler, Patricia Silva, Kath Thomas, Volker Wunderlich.

Caligrafía Experimental, Tafí del Valle, Tucumán. Argentina

2013.
Experimental Calligraphy, Tafí del Valle, province of Tucumán. Argentina.

From December 9th till 13th, 2013.

Students: Ines Buteler, Viviana Lebron, Teresa Vidal, Susana Herrera, Solange Rouges & Graciela Bollini

Calligraphy in Blossom

2013
Calligraphy in Blossom

First International Experimental Calligraphy Workshop in Buenos Aires Argentina. Workshop by Marina Soria with the collaboration of writer and poet Andrea Jauregui. Weeklong workshop from Sunday 25th till Sunday 31st, August 2013.


Proposal:

“The starting point is really the critical determinant of how an alphabet evolves” Thomas Ingmire.

“Zheng Banqiao was fond of painting bamboo, rocks and orchids. He painted orchids like writing characters, and wrote characters like painting orchids”. If we start from letters the result will be pretty much the same, but if we move to a much broader shape resource in nature, then the result will be a whole set of new possibilities. We will try to find the similarities between letterforms and the shapes we may find in nature. We will research into the Taoist principles of beauty to broaden our graphic and design solutions. The Japanese brush and the Cola pen will be our tools, first working with walnut ink and then moving on to color rendering. The final form will be a book in which natural reverberations will have priority over legibility. The playful aspect of painting will open our minds and the joy in the execution will show through our strokes.

We had students from Australia, USA, Chile, Colombia and Argentina. Colleen Little, Lexie Arlington, Carole Johnson, Kathy Davis, Viviana Lebron, Teresa Vidal, Susana Herrera, Guisela Mendoza & Isabel Cristina Henao de Toro

Cursos de caligrafía y encuadernación

2010 / 2011 / 2012
Calligraphy and binding courses

Within this new way of teaching calligraphy and binding, students developed their own projects.


In the beginning we designed an experimental alphabet combining sumie-e & calligraphy and we created various separate pieces. We worked with more expressive calligraphies using the folded pen and we learn how to built one.

Others chose more formal calligraphies, we learned Fundational and the Condensed variation as well as Copper Plate. We worked on layering, variations in size, rhythm, colour, on spacing and composition.

As regards binding we did a serpentina book, some folded pieces, and some learned a coptic binding. One student projected a work on canvas gathering her childhood memories. We learned the process to create an artwork from the very begining, from the blank space, learning alternative designs, mixed media such as paste paper, etching, tranphered textures and a bit of guilding. Amongst the more ambicious projects is the idea of creating a book from its genesis. We research in the secuence theme, time, the various graphic posibilities, ilustration and caligraphic resources.


2012 - Works from:
Claudia Gonzales, María Emilia de Camillis, Silvana Aisenberg, Marta Korowaj (Poland), Verónica Cardona López (Colombia), Carolina Gutiérrez, Ines Buteler, Andrea Cattan,
Gaby Ferrández, Makiko Niederstrasser (Germany), Sarah Kelly (UK) y Lucía Nolasco (Peru).

2011 - Works from:
Selva Bianchi, Ines Buteler, Gaby Golden, Vivi Lebron, Gaby Ferrandez , Andrea Cattan.

2010 - Works from:
Daniela Fuhrmann, Paula Doretti, María Chorra, Victoria Bianchi, Gabriela Zarich,
Silvana Aisemberg, Ines Sotomayor.

Workshop Calligraphy & Sumie-e

2012
Workshop Calligraphy & Sumie-e

Catholic University of San Luis,
San Luis province. Argentina

September 28th and 29th

 

Next, students’ work:

 

Workshop Calligraphy & Sumie-e

2011
Workshop Calligraphy & Sumie-e

Catholic University of San Luis,
San Luis province. Argentina

September 29th and 30th

 

Next, students’ work:

 

Caligrafía experimental y Sumie-e

2009
Experimental Calligraphy and Sumie-e

Students:
Ioia Puig, Diana Goransky, Nilda Carrizo, Gabriela Zarich, Paula Doretti.

Through experimenting with strokes and excercising with the Japanese brush students transformed their gestures into letters based on flower painting. We studied the characteristics of the Taoist sumie where we do not try to paint the flowers in a realistic way but through the minimum of strokes.

We designed the rest of the letters in our alphabet to be able to write a short quote. We made colors tests and finally we build up a serpentina book.

Técnicas Mixtas sobre Papel II

2009
Mixed Media on Paper 1

This workshops aim was to learn some pictorial techniques on paper to enrich our calligraphic artworks. In this workshop students used paper as unique support: watercolor papers off white and dark. From all the work done in the workshop we choose three pieces to create a three dimensional book.

The techniques used were: ink, splashed, bleach and pastels, engraving with walnut ink &sumi; strokes with coloured water, and finally a simple illumination with copper, gold or silver leaves to enrich the artworks which were then bind with the japanese technique.

Técnicas Mixtas sobre Papel II

2009
Mixed Media on Paper 2

Students:
Mirtha Ferrari, María Laura Helguera, Nilda Carrizo y Gabriela Fernández.

This workshops aim was to learn some pictorial techniques on paper to enrich our calligraphic artworks. In this workshop students used paper as unique support: watercolor papers off white and dark and even experimented with handmade papers. From all the work done in the workshop we choose three pieces to create a book.

We demonstrate techniques writing on humid paper, sealing with various textures, writing with water, splashing, using masking fluid and a very simple illumination technique to enrich our works. We used the japanese binding to create a sculpture book.

Encuadernación con pliegos de papel plegados

2009
Folding paper to create books

Students:
Noemí Parodi, Nilda Carrizo, Luz Zorraquín, María Gracia Ianni.

I touch this folding workshop after my experience in Arezzo last year with Cristina Balbiano, bookbinder. We learned some simple techniques of folding from a single sheet of paper which allows us to create books of different sizes and types of openings. More information

Armado de Carpetas y Sobres

2009
Making folders envelopes
and the Leporello book

Students:
Gabriela Zarich, Nilda Carrizo, Eugenia Daneri, María Gracia Ianni, Andrea Jáuregui y Patricia Vásquez Ferro.

Our aim was to learn some techniques by folding papers in the Origami style. Students produced two models of envelopes in Origami. A folder carpet, Humi Huzita´s design and a book made of pockets known as Leporello, designed by Heidi Kyle.

Encuadernación japonesa simple

2009
Japanese book bindings

Students:
Gabriela Zarich, Mora Righetti, Mercedes Brousson, Luz Zorraquín, Eugenia Daneri, Nilda Carrizo, Andrea Jáuregui, Lucrecia Araoz y Valeria Vittar.

Our aim was to learn simple Japanese bookbindings with no adhesives. This type of binding allows us to gather separate sheets of paper. Students produce several books in specific sizes with different types of stitches, models from Sue Hufton.

Thanks to Alberto Chiaramonte's folders from Rosario we could work with excellent tools.

Crown book y Blizzard book

2009
Crown Book & Blizzard book

Students:
Gabriela Zarich, Nilda Carrizo, Alejandra Rodríguez, Eugenia Daneri, María Gracia Ianni, Lucy Frías, Viviana Soria, Carlos Quesada, Cristina Agud, Patricia Figueroa, Adrián Gallardo y Vicky Siwald.

Once again based on my clases in Arezzo with book binder Cristina Balbiano, I touch my students how to make a book with exchangeable pages known as Crown book and a simplified version of it called Blizzard book. The Crown book has seven doble pages A4 size apart from folders.

This workshop had many students amongst them Vicky Sigwald, famous papermaker and Adrian Gallardo, her assistant Cristina Balbiano

Seminarios de Posgrado sobre caligrafía experimental para diseñadores gráficos - UBA

2008
Postgraduate Seminar about Experimental Calligraphy
FADU, UBA - C.A.P.

The Experimental Calligraphy Workshop was aimed at graphic designers and interested professionals.

 

Next, students’ work:

The objectives of the course were to show the students the importance of calligraphy as a solid basis when designing typographies and exploring a new way to think Calligraphy, not by copying models, but creating own models with a more original, flexible and personal view, implementing new techniques, materials and tools bearing in mind the principles of the arts.

Seminarios de Posgrado sobre caligrafía experimental para diseñadores gráficos - UBA

2007
Postgraduate Seminar about Experimental Calligraphy
FADU, UBA - C.A.P.

The Experimental Calligraphy Workshop was aimed at graphic designers and interested professionals.

 

Next, students’ work:

The objectives of the course were to show the students the importance of calligraphy as a solid basis when designing typographies and exploring a new way to think Calligraphy, not by copying models, but creating own models with a more original, flexible and personal view, implementing new techniques, materials and tools bearing in mind the principles of the arts.

Bienal Letras Latinas

2006
Alphabetizing children.
Looking for new ways.
Letras Latinas Bienal

Trying to find new ways to improve alphabetization in children, the Cruz del Sur Calligraphers suggested two calligraphy workshops. One was designed for children between the ages of 5-7 and another one for older kids (8 to 11).

The former consisted of an oral narration where three important phases in the development of writing were described. This was supported by showing images and objects connected to the topic. Children left the impression of their hands, drew animals and tools, and ended reproducing letters with stamps.

The latter’s topic was: Medieval Period. The original idea was to tell the children about writing in medieval times. Copies of manuscripts were shown and we took parchment paper and bird feathers and we showed them how people wrote in those times. They were also invited to illuminate a gothic document, which we had photocopied before. Finally, they tried to replace gilding for brilliantine.

Bienal Letras Latinas

2004
Calligraphy Workshops
Letras Latinas Bienal

Within the context of Latin Letters 2004 in Centro cultural Recoleta, the Cruz del Sur Calligraphers were invited to give a series of workshops. They aimed at giving students the basics of the discipline and showing them its importance as a solid basis of typography when designing fonts.

Three workshops were organized in which students first became familiar with the tools necessary for calligraphy through experimental exercises.

Then, a series of exercises on double pencil and fundamental alphabet followed, trying to teach them the basics of flat end.

 

Workshop on mixed techniques on paper

2004
Workshop on mixed techniques on paper

The use of mixed techniques to produce richer, complex and interesting calligraphic pieces is becoming more important as time goes by.

 

Next, students’ work:

In this workshop students used only paper. Paper for watercolours, dark and light was used, and students experimented with handmade paper.

The techniques used were: ink, splashed, bleach and pastes, engraving, and oak ink and sumi; strokes with coloured water and watercolour pencils, sealed with leaves and textures; illumination with copper, gold or silver layers.

Workshop on mixed techniques

2004
Pictoric techniques workshop
Applying mixed techniques to calligraphy

Contemporary calligraphy is getting more and more involved with the fine arts.

Paper and parchment paper are not the only elements used. Practically any surface can be used for writing or engraving. It is a question of imagination to think of new elements, and then learn the necessary techniques to achieve the task.

 

Next, students’ work:

Participants used canvas, plain fabric or cardboard as surfaces to do their work looking for texture, rugosity and even relief.

In this workshop techniques were shown by the use of acrylic latex with the mixture of sand, special paper and objects.

These techniques were applied in different projects such as book covers, albums, boxes, pictures, etc.

Experimental Calligraphy

Since 2002
Experimental Calligraphy
The essence of calligraphic alphabet

The same principles which are followed in the evaluation and execution of formal calligraphy are the ones which let us create new calligraphic variations.

 

Next, students’ work:

This workshop explored new ways to create more personal and experimental alphabets.

We went deep into understanding the relationship between letters, space, scale and design, exploring the idea of system legibility, visual aspect, morphology and design.

Formal Calligraphy

Since 2002
Formal Calligraphy
Introduction to Calligraphy

Next, students’ work:

This workshop had the objective of introducing the students into the world of calligraphy, analysing not only the formal aspects of letters and the way to do it, but also the traditional tools, means and bearing.

They learnt about the history of calligraphy, the structure and proportion of letters, the space and outline, ending with a formal calligraphy like the foundational one and its variables.

The workshop followed, in some cases, with Italic or Formal calligraphy, and with projects based on the students’ needs and interests.

St. Matthew's College

2002
2002 Workshops for 1st and 2nd graders on “Medieval Calligraphy”
St. Matthew's College

This workshop took place during the Week of Art at St Matthew’s College.

The groups included children aged 6 to 8 years old.

The objective of this workshop was to make children aware of two calligraphic styles clearly differentiated and of the ornamentation of medieval manuscripts by observing, analysing and describing.

The ultimate objective was to make children appreciate the art involved in the different techniques used developing, at the same time, their creativity and manual skills.

Universidad Ort de Montevideo

2002
Experimental Calligraphy Workshop
Universidad ORT de Montevideo, Uruguay

The Cruz del Sur Calligraphers were invited to give a workshop on experimental calligraphy at Ort University in Uruguay in order to promote and spread calligraphy. Moreover, a lecture was given and an exposition with calligraphic logotypes was held.

The objective of this workshop was experimenting with a flat-end tool and then design a complete alphabet.

This alphabet was analysed thoroughly up to an artistic field emphasising the visual connotations of the signs and its easthetics value.

 

Students: Martín Abud, Oscar Aguirre, Tania Casares, Laura Chavez, Beatriz Fernández, María Laura Fernandez Eduardo Fornasari, Alejandro Geriboni, Andrea Grossy, Abigail Giménez, Vicente Lamonaca, Marcos Larghero, Andrea Montedonico, María Fernanda Nuñez, Ramiro Ozer Ami, Genoveva Pérez, Andrea Pichiny, Graciela Risso, Magdalena Sayagues, Ruth Smolovitz, Andres Takach, Gustavo Wojciechowsky.

Bienal Letras Latinas

2001
Introduction to Typographic Styles through Calligraphy
tpG Buenos Aires Event

The Cruz del Sur Calligraphers were invited to give a workshop on experimental calligraphy in the context of an international conference on Typography for Real Life, organized by the Typographic Magazine. Besides, an exhibit on scholarly calligraphy and another of spontaneous calligraphy were held by displaying photographs of the city.

The objective of this workshop was to experiment with a flat-end tool to then design a complete alphabet. This alphabet was analysed thoroughly up to an artistic field emphasising the visual connotations of the signs and its aesthetics value.

St. Matthew's College

2001
Workshops for pre-school children: “The History of Calligraphy, from Primitive Painting to Mobiles”.
St. Matthew‘s College

Children aged 5-6 were chosen to participate. The objective of the workshop was to show children the evolution of writing throughout history, in three simple stages.

The first stage consisted in an approximation to the sign from basic shapes; foot and hand prints.

The second one showed the first attempts to send a message via pictures. The last stage introduced children to the occidental alphabet through the drawing of decorated letters and the use of stamps.

Las Colas

2001
Calligraphic Weekend:
Workshop and lectures about
the history of calligraphy
and contemporary calligraphy.
Estancia Las Colas, Gualeguay / Entre Ríos

In 2001 the Cruz del Sur Calligraphers organized a calligraphic weekend.

The participants to the workshop were lodged in an old estancia, built in a Renaissance style and surrounded by trees and vegetation, 9 km away from the city of Gualeguay.

Classes took place in the old barn, today a museum located in the stables. The objective of the workshop was to explore strokes from its minimal expression until its full representation of a code or communication system.

Traditional, unconventional tools were used and even some of them were made by the students attending the event, using the elements provided by the environment.

Talks, demonstrations, and even a calligraphic library was set up to complete such a wonderful experience.

 

Students: Daniel Wolcowicz, Paola Camano, Mónica Pujol, Andrea Chiocca, Silvia Berrutti, Soledad Fontana, Marisa Kraiselburd.

Prof. Goldfarb’s course - UBA

1998
Prof. Goldfarb’s course
Buenos Aires University

In 1998, after being away from University and pregnant with my third child, I returned to Buenos Aires University, appointed by Luis Goldfarb, head of the subject Typography, to work as his helper in the 1st year of this course of studies.

 

Next, students’ work. I apologize for not remembering their names.

My thanks to all the teachers and students for such excellent work.

The whole first term I was devoted to the introduction to calligraphy and to teaching foundational alphabet. Firstly, I had to instruct my teachers, since they were not qualified in calligraphy, although they were all graphic designers. I eventually got very good results.

To my surprise, in the final projects many students included calligraphy as a topic in their proposals.

Alto Paraná

1984
First Art Events - Alto Parana Company
Misiones, Argentina

In 1984 Alto Parana organized a series of art events in the province of Misiones. Its objective was to connect three towns in that province: Esperanza, Wanda and Libertad whose inhabitants worked for the company. Therefore, a team of art teachers, composed of Amelia Herrero, Claudia D’Ambrosio, Diana Goransky, Nadine Youssefian and Marina Soria, was summoned.

The activities included were sculpture workshops, mural painting, painting on fabric, batik among others, and the event lasted 11 days.