Mark your calendars for 2019 workshops!

April 26-28 Barry Morentz  with 2 workshops! April 26 – Japanese Boxes; April 27-28 – Gothicized Italic

September 21/22 Loredana Zega – “Brush Textures”. See and follow Loredana on Instagram and Facebook

October 19/20 Rick Paulus – “The Truly Flexible Pointed Pen”. See Rick’s work at

If you are attending the Rendez-vous 2019 International Calligraphy conference in Montreal next July, we want to hear from you! It will be fun to know who is going. Just send an email to Also let us know if you are interested in driving up with another member and we can coordinate with each other.

Masscribes General Meeting – December 8, 2018

Please come to our Masscribes Holiday Gathering on December 8, 2018!

This will be an all-day event, which will be divided into three sessions. You can sign up for any or all sessions. Each session will cost $10. The deadline to register is November 25th so sign up right away using the PayPal buttons below! You do not need the PayPal account to register.

You may choose to come in the morning and just stay for lunch or just come for lunch orcome for lunch and stay for the afternoon or come for the whole day! This event is not limited to members but registration is required.
Please make sure you press the “View Cart” button in the bottom of this page and complete checkout after choosing the sessions you plan to attend!

Please email with any registration questions.

Morning session: Not-in-my House Paste Papers, 9 am to 12 noon

Come get really messy and productive! Nancy Galligan will lead the morning Paste Paper session where we will make paste papers using methyl cellulose paste, acrylic paint and Arches Text Wove paper. The morning paste paper session has a limit of 14 participants due to space.

Fee: $10 which includes several sheets of paper, paste and supplies. Additional paper will be available for sale for $2.00 per 20 x 25 inch sheet.

Paste paper supply list:  Apron, a spray bottle- not a mister- but a laundry type spray bottle; 2 large plastic containers (1 quart size), 2 new kitchen sponges, scissors, oil pastels if you have them, colored pencils (not water soluble), soft pastels (like Nu-pastels), acrylic paints in your favorite colors such as Golden or Liquitex- NOT Golden High Flow (Masscribes will provide some basic colors), any mark making tools that you have that are not sharp enough to rip wet paper, money for additional paper (or your own Arches Text Wove if you have some, torn to 13 x 20 inches, quarter sheet size).
SOLD OUT! Please email to reserve a spot on the waiting list.


Lunch: 12:30 to 2 pm

Will be will catered from To Beirut, a local Mediterranean restaurant with grilled chicken and veggies, salad, falafel, humus and pita. Also included are some yummy desserts! Drinks will be provided. Lunch will be $10 per person. (You are also welcome to bring your own lunch if you choose.)


Afternoon session: Binding a Winter Book, 2 to 5 pm

Anna Belkina will guide everyone through binding Arches Text Wove paper into an Ethiopian/Coptic hardcover binding. We will make and pierce signatures, plan the book structure, sew it together and add headbands. Everyone will create the same basic book and then make it truly yours with lettering, mark making and decorations over the winter months. We will reconvene at our Spring meeting to see how each book morphed into a unique creation of calligraphic art.

Fee: $10 includes book board, thread, 2 half-sheets of ATW, needles, and a piercing cradle. If you decide to make a thicker book, an additional half-sheet will be available for $2.00.

Book Binding Supply list: awl, long sturdy ruler to tear paper, an X-acto knife with a sharp point, a mat or some thick cardboard (8×11.5” piece is enough),  bonefolder (if you have one), desk light with extension cord.

Once you picked the sessions you wanted, please complete the checkout here:

Amity Parks, “Be Fearless – A Way of Working Without Worry”, October 26-28, 2018

Imagine having time dedicated to focusing and exploring a series of works that combine meaningful words and images in multiple ways. Our focus will be on layout and design, layering lettering techniques, combining text and images, and most importantly learning to work on multiple pieces at once in order to overcome the ‘fear’ we develop when the investment is focused on a single precious piece. The freedom of multiples allows us to take more chances, to do the unexpected and not settle on the first solution to a problem. By working in a series we forget the preciousness of each piece knowing that not everyone will be successful, and embracing that freedom to make mistakes.

Throughout the class we will employ a variety of techniques, such as painting, drawing, collage, and image transfer incombination with our calligraphy. While not strictly a lettering class, we will incorporate our calligraphy throughout the process. Layering, masking and photo transfer techniques with a variety of mixed media allow for risk taking and experimentation as we discuss layout principles and make thoughtful design choices.

You will work in a small scale in multiples, focusing on the development of a series of work, refining your designs and the integration of images, words and letters into your pages. You will explore how to incorporate personal meaning into your pieces, and why this is necessary tocreate work that tells a compelling story. The class includes a discussion on the importance of choosing words you want to spend time with and playing with ways of combining text and image that are not only interesting to look at, but add meaning to your work, avoiding the obvious and respecting your audience enough to leave some of the mystery for them to solve.

By the end of class you should have a few resolved final pieces, a pile full of work that needs more attention and the skills to go back to your studios equipped with a way of working without worrying!

Amity Parks’s website with her bio and the most recent work is



Diane McDougall-Desautelle, “Celtic Knotwork Unraveled”, September 22, 2018

Celtic knotwork is a beautiful art form that can look more difficult than it actually needs to be. Once having learned the basics of drawing elementary knots, one can use simple methods to expand designs and use them in numerous creative applications, from illuminated pages to decorated objects. Working with the symbolic geometry that is innate to Celtic knotwork can be rewardingly meditative.

In this one-day workshop, participants will be introduced to the art of Celtic knotwork through a combination of history review, live demonstration of multiple methods of construction (different ways to approach interlacing designs), hands-on practice, and a look at the ways in which elements of this ancient art are being applied by artists and designers today. Handouts will include exemplars for traditional knots and borders, in-class exercises, terminology definitions, images from historic samples, pages from a variety of writings by prominent Celtic art researchers, and lists of resources. 

After learning the process of plotting out and interlacing the cords of a formal knot, we will make a lateral move to following the less measured and mathematical method of constructing freeform knots. Concentrating on balance and spacing, we will talk at this point about continuity in the curves of lines as they pass through intersections and the very important habit of looking for symmetry, shape, and weight of negative spaces. As a culmination of the day’s lessons, each student will choose one of their completed designs to cleanly trace in outline form. The cords of the knot will be outlined with Micron pen and colored in with Prismacolor pencils. Elegance and dimension will be added to this piece by finishing it off with subtle highlights and shadows, shading and blending colors to create depth and a 3-dimensional effect.

Diane McDougall-Desautelle has long been in love with the fascinating and mystical designs of Celtic art. Multiple trips to Scotland and England during her college years provided her with plenty of visual nourishment for years of work in calligraphy and Celtic influenced art and design. Today she takes as many opportunities as possible to thread this influence into her commissions and personal work. She is a graduate of the School of the Museum of Fine Arts where she received her diploma and her BFA in affiliation with Tufts University in 1991. A natural love of teaching led her to continue at Tufts and pursue her Master of Arts in Teaching which she earned in 1993. In addition to running her small business, ThistleWork Design Calligraphy Studio from her Framingham home – Diane teaches calligraphy classes to children and adults at private schools and evening adult education programs. Her work can be seen online at and

Pamela Paulsrud, “Sounding the inner landscape: handwriting, mark making and sacred geometry”, April 27, 28 & 29, 2018

I view handwriting and mark making as visual languages emanating from our thoughts and emotions, a remnant of a process. Each line, each stroke, is distinguished by the materials, the mood, the day, the rhythm, the breath—a visual language within a language, a cross between a fingerprint and an EKG, telling not only who we are but also how we are in that moment of time. My intrigue arises not only with line and space, but with heartbeat, breath, and resonance—that energetic quality, that vibration seemingly so elusive.

In this workshop we will begin by investigating the illusive underpinnings in the hidden laws of nature—sacred geometry—exploring these forms and synthesizing the linear with the artistic aspect of pattern and beauty. Step-by-step instructions will be given from which to springboard—pairing graphite and ink with a compass and straightedge. 

Music, meditation, sound and silence will then accompany us as we wend our way through a series of exercises exploring the tempo and voice of our unique story, script, gesture and mark—developing flow—letting go of the familiar long enough to greet the unexpected. We will explore the distinctive and bold expressions of spontaneous marks using walnut and sumi inks and while we’re at it we will explore and extrapolate your handwriting too. 

Selected exercise will be bound into a book structure where further opportunities arise in developing the story.

Pamela Paulsrud is a visual artist. She has been recognized internationally as papermaker, calligrapher, book artist and collaborator creating both intimate pieces and large-scale installations. Her exploration in energy and vibration, letters and lines, her love of the land, the earth and it’s resonance, inspires both her work and her life. She also continues her research and practice in energetic healing modalities-which simultaneously informs her art. She received her MFA from Columbia College Chicago in Interdisciplinary Arts concentrating in Book and Paper.

Pamela’s work has been published in many magazines, books, journals and in several issues of Letter Arts Review and other publications. She teaches workshops in lettering and book arts. She exhibits her work internationally and collaborates with professional artists and the general public on an ongoing project entitled Treewhispers. Treewhispers includes paper-making demonstrations, storytelling and site-specific installations. The project involving handmade paper, art and stories relating to trees as a symbol and resource is shared at www.treewhispers.comand on her personal website 

Carol DuBosch, “Folded Pen Adventures”, November 15-16, 2017

This exciting adventure begins by making your own folded pens from thin brass and then moves to learning a very distinctive modern script.  The pens are simple to make and promote expressive writing from the first marks on the page. Folded-pen script, though similar to pointed brush writing, is easier to learn and has a unique contemporary feel. By custom-making your own pens, you’ll be able to fit the pen to your hand and also to the “look” of the letters you want to create. We will explore several colorful techniques using the folded pens to make letters that have a marbled effect and letters that are “lifted” from a background wash. The folded pens are likely to become your favorite writing tool, as you develop a passion for expressive lettering.  Students will make a simple portfolio with practice papers from classroom exercises.

Carol DuBosch’s Bio

I’ve been a calligrapher in Portland, Oregon since I was first introduced to nibs and ink in 1959 as a high school art student. In the 55 years since, I gained a degree in Graphic Design and have studied with every major calligrapher in the US and Europe. I’ve been teaching college level and private classes in town and workshops throughout the US. I have directed three International Calligraphy Conferences in Portland, bringing 500 scribes together for a week of study and sharing. 

I am interested in every aspect of the field of calligraphy, from the formal invitation to writing on walls. I enjoy seeking out ways to stretch the boundaries of my art. As a life-long learner, I look forward to the next new thing. 

Michael Clark, “Ruling Pen Rules!”, on September 16-17, 2017

Ruling Pen Rules!

This class will explore the myriad possibilities of the ruling pen’s “line.” The class will begin with familiarizing the student with the tool(s). We will move to honing handling skills and then to working with expressive “words.” From there the class will work with word groups and alphabetic compositions and ultimately page texture experiments. A group project will be incorporated into the workshop… a collaborative effort to “effect a phrase;” this exercise will bring home the concept that “first stroke down informs all subsequent decisions.” 

Michael Clark’s Bio

Michael Clark is a lettering artist and type designer. His lettering can be seen on packaging for products ranging from salad dressing to book and CD covers. He also designs fonts for corporations, as well as for resale. He thinks less in terms of particular styles and more in terms of what the word(s) must convey: sloped/upright, angular/rounded, capitals/lower case, smooth/notched etc. He thinks less about style and more about his ABILITY to interpret (or add voice to the word[s]) and design. He’s currently the designer and editor of Scripsit, the journal of the Washington Calligraphers Guild.

Check out his website,  for some inspiration.

You will need need to mail a $50 deposit to hold your spot. The balance will be due by August 15th.