Customer Showcase: Carol Measures Scott
Carol Measures Scott has been a wonderful customer of ours for many years, and we were delighted to meet her in person at the Legacies conference in 2014. She is truly a delightful person who shares her love of lettering by teaching classes. We hope you enjoy getting to know her a bit better as you learn more about her and see her work.
- The carrot penholders – for a larger gripping surface when I am writing for longer stretches.
- Moon Palace Sumi ink – for pointed pen writing
- Dr. Martin’s Pen White – for pointed pen writing
- Finetec Arabic Gold – for writing or adding a touch of sparkle
- Schmincke Full Pan Watercolor Gold and Silver – gorgeous colors! Use it for all kinds of things!
- Walnut ink – so versatile; great for background washes, writing in broad-edge and pointed pen. Great for mixing with other mediums for interesting effects.
- Factis Black Eraser – superior for erasing on black or dark papers
- Optisight Magnifying Visor – reason? Middle-aged eyes. ‘nough said! 🙂
- Sheila Waters’ Foundations of Calligraphy – excellent for all skill levels.
- Speedball textbook – any edition, but the new one is a feast for the eyes.
- Sakura Gelly Roll Stardust Clear – for subtle sparkles on informal work.
- Pilot G-Tech Ultrafine Pens – in red and blue for indicating ductus and other notes on students’ homework.
- Mitchell nibs – for flexible broad-edge writing, crisp strokes even in small sizes
- Tape nibs – for slightly stiffer feel
- Dinky Dips – so convenient for just the right amount of ink without keeping a whole bottle of ink open to the air (risk of evaporation, contamination, etc.). Prevents dipping the nib too far into the ink.
- Why do you choose to shop at Paper and Ink Arts?
I believe in supporting small businesses. I started buying from Brenda Broadbent (former owner) in the mid-80s because a calligraphy teacher handed me her *flyer* for Paper & Ink Books (that was the previous name) – she didn’t have a catalog back then. I enjoyed the good service and quality so much that I stuck with Brenda all through the years – growth, name change, transfer of ownership. Friendly, helpful service and quality products keep me coming back to Jennifer and her crew.
How did you get started in calligraphy? Tell us a little about your story.
Was there ever a time that I did not enjoy the act of writing? I can’t remember it! I still fondly recall the sensory experience of moving chalk over the blackboard of my little easel when I was preschool- age. I’d fill up the board from one edge to the other, writing letters and numbers. There were portions of the board that must have been smoother because I remember being enchanted when the chalk would glide more easily for a moment. When I was in sixth grade, I created catalogues of humorous items for sale, taking great delight in the tactile experience of writing and drawing.
As a teenager, I discovered pen and ink in a ninth grade art class. I still have that little Speedball kit with the pen staff and pen points from way back then. The most fascinating part of it was the booklet of various letter styles that came in the box. I remember tracing the shapes with my fingers on the page and in the air, something I still catch myself doing at times when I’m admiring someone’s calligraphy.
At age 23, “I stumbled” upon my first calligraphy class. I don’t believe it was an accident. I had entrusted my life to the L-rd and I later realized He led me there even though I wasn’t sure what the word “calligraphy” meant. The class was fast and furious, covering four styles in four weeks. Roman Capitals *and* Foundational were covered in one session! It took only a few moments of making marks with this funny broad-edged pen to realize that it could make magic! I was hooked. I started hunting for more classes and looked for a group to join. I searched out joined some out-of-town calligraphy guilds, which are delightful havens for letter lovers.
In 1988, I gathered a group of interested folks and started the Waco Calligraphy Guild in Texas, which held monthly meetings and quarterly workshops. I became known as the resident workshop junkie (with an “award” to prove it), while continually seeking to improve my skills.
After moving to the Dallas area in 1999, I immediately joined Kaligrafos: The Dallas Calligraphy Guild. I continue to be active in the monthly meetings, workshops and exhibits. The learning never stops. This wonderful field is limitless!
I have enjoyed teaching calligraphy to kids and adults since 1986. Some of the teaching venues include Baylor University continuing ed., McLennan County Community College, Brookhaven Community College, Plano Parks and Rec., and Sachse Parks and Rec. I currently teach lessons, classes and workshop out of my home in Sachse, TX.
Many hundreds of workshops, programs and classes and a few conferences have contributed to my learning and enjoyment of this ancient art of calligraphy. I’m grateful to have won several awards in local art exhibits.
My personal favorites calligraphy activities are teaching private students and working on interpretive art canvases combining abstract work with calligraphy.
Whatever customers and students ask for. That has changed over the decades from mostly broad-edge to mostly pointed pen. As you know, pointed pen work is all the rage these days and broad-edge work is taking a back seat for the time being it seems.
What recommendations would you make to someone just starting out with calligraphy?
- Allow yourself the freedom to be a beginner. Children are in constant newbie/learning mode. If you are an adult just starting out in calligraphy you may have grown out of knowing what it’s like to be a raw beginner. It is completely normal to go through many wobbly letters as you gain skill. Remember how a child learns to walk and just keep on working at it.
- Decide to relax and be OK with not achieving perfection in the next 30 minutes, or 30 days. Give yourself time. Treat yourself as kindly and with as much patience as you would if you were teaching this to your son or daughter.
- Date all your practice pages and keep them. When you reach that inevitable plateau (feeling as though you aren’t making progress) pull out your practice sheets from the early days to compare your current work with your beginner work. The differences will fuel your encouragement to push forward in your calligraphic journey.
- Remember that when you see a calligrapher’s work and admire it, they did not get to that level of proficiency over the period of one six-week class. Just like in many other fields – painting, athletics, music – calligraphy requires a lot of practice to achieve excellence.
- Harvest Crittenden says, “Aim for progress, not perfection.”
- Make sure you are learning from the very best teachers you can.
- Spend time in meaningful study of excellent calligraphy. This means buying not just any calligraphy book which happens to catch your eye. Make a conscious choice to invest in instructional calligraphy books by the best of the best like Sheila Waters, John Stevens, Christopher Calderhead, Michael Clark, Rachel Yallop, Charles Pearce, Izzy Pludwinski, Michael Sull, etc. If you own the book, find an exemplar page of the style you are studying and enlarge it quite a bit. Hang that page up on a wall where you will see it often. Let your eyes analyze and scrutinize every aspect of the letters, say while you are brushing your teeth. These minutes spent training your eyes to see proper forms and spaces add up to hours of visual study which will inform the work your hand will eventually learn to produce when combined with meaningful practice.
Where can our customers see your work?