The Write on the Edge conference is being put together by two Bay Area calligraphers. Debra and Rick’s backgrounds and skill sets are different, but they are committed to working together to create a conference full of love for their community and letters. Let’s take a moment to get to know them and their ideas for this conference a little better.
Debra Ferreboeuf
Debra Ferreboeuf & the door to her wisteria covered studio
How did you get started with Calligraphy?
Calligraphy became a part of my life in 1975 with my first classes in Eugene, Oregon with Fran Strom and the Valley Calligraphy Guild. I’ve had stops and starts along the way as one does in life but I have always loved it and the community of calligraphers. I think we are a special group. Friendly, helpful, and nurturing. Creative, resourceful, and inventive. And we all seem to be happy to share everything. From ideas and tools at a workshop without hesitation to compassion and support whenever needed.
Tell us about your first International Calligraphy Conference.
My first conference was Calligraphy Northwest in 1991 and what a heady experience it was. I left it feeling supercharged with a creative energy that I hadn’t experienced before. Yes, it was life changing. Everything about it was memorable. The classes! I still remember and use what I learned in Reggie Ezell’s and Joanne Fink’s classes. The evening lectures were magical with Peter Thornton’s Phantom of the Opera book and Tim Girvin’s presentation. The faculty exhibit with John Steven’s exquisite calligraphy on black paper still inspires me. So many spontaneous meetings with other calligraphers at meals and the socials in the evenings, even just walking alongside someone going to classes. The delight in actually being able to see and hold all the wonderful art supplies from Paper and Ink Arts that I had only seen in the catalog before. Holding books in my hand from John Neal and wanting all of them. Sometimes it felt like I couldn’t catch my breath, it was like falling in love, I was that happy. Somebody pinch me. And this love affair with letters has continued.
Why have you stepped up to organize the 2022 conference?
When I’m asked why I am helping to present the 2022 conference it’s all of the above plus, that I want everyone to have that opportunity either for the first time or again. We haven’t had to imagine what life would be like without our annual conference. It happened in 2020. Everything was cancelled. We virtually were able to get together this last year at Legacies lll with Angie Vangalis boldly going where no conference had gone before and it was wonderful to see and experience our community again.
What is your vision for this conference?
I’m calling on that supportive, caring, and sharing spirit we have to have faith, to band together like we do to carry on our conference tradition. But with a new outlook and purpose.
Yes, we all attend conferences to learn for ourselves but let’s expand what we do.
Let’s start to embrace and appreciate the new wave of lettering artists that are emerging. To learn from them and share our knowledge for mutual benefits. To deepen individual study and the opportunity for a path to excellence with a mentorship program. Generously sharing our skills and knowledge in our community is a gift and a way to introduce this wonderfully achievable art to children and young adults. Let’s show you ways to do that in your community.
Lettering and “communication” literally go hand in hand and now more than ever let that hand be to inspire, educate, and give a voice to those causes that are dear to your heart. Murals are art exposed to everyday lives and you never know what impact your message will have. But one has to try and be a positive force in the world today and you can make a difference. Because that’s how we roll.
All it takes is one spark for lettering to catch fire in someone’s life. Be the match. Kind of a risky statement in California during the summer fire season, ha ha. But that’s just me.
@writeontheedge2022 Unrolling the banner for the 2022 Write on the Edge conference! Sign up now at www.WriteOnTheEdge.org #calligraphy #learncalligraphy ♬ original sound - Write On The Edge 2022
Rick Paulus
Rick Paulus & his studio space: Didn’t even clean it up a bit—that’s how it looks these days. Project on desk is large monoline piece on black paper, and it is giving me trouble right now. Red thing hanging off of lamp over desk is an effigy of Titivillus.
How did you get started with Calligraphy?
I purchased my first calligraphy pen, a Speedball set, on my tenth birthday and have not looked back since! While calligraphy was a favorite medium for me through primary and secondary grades jam packed with art classes, it was not until I was twenty-three years old that I learned that one could actually make a living as a calligrapher. I was hired as an apprentice calligrapher by William Tolley, in Washington, DC, in 1983. That began a twenty-year journey in Washington, DC, which culminated with my employment as chief calligrapher of the White House. I have had the great pleasure of refocusing my art in non-commercial directions since leaving “official Washington” and have immensely enjoyed the creative journey that has taken me on.
Tell us about your first International Calligraphy Conference.
My first International Calligraphy Conference was Calleidoscope, in Trenton, NJ, in 1993. I studied Spencerian Script with Michael Sull for five days. I also remember a moving lecture by Nancy Culmome and some stunning full-body calligraphic dance by Ewan Clayton as he gracefully interpreted the movement of letters. Everywhere I turned, there were beautiful letters to be seen. Even the sidewalks were full of beautiful letters, as they put sidewalk chalk in our welcome bags, and it was used— a lot!. For our mid-week excursion, we went into Philadelphia, I forget where, exactly, but I surely do not forget the Dick Beasley work that we went to see. His colors and textures remain with me still. This was the first time I had seen his brilliant work. I must admit, this being my first conference, I kind of sat on the sidelines and watched in awe, maybe a little dumbfounded, at this very enthusiastic gathering of lettering artists I had found myself among. It was a transformative experience; I had found my tribe!
Why have you stepped up to organize the 2022 conference?
I like to say that I stepped up because Debra asked me to. That is true, but to take on a task of these proportions, one must have something in addition to even the most enthusiastic encouragement from Debra Ferreboeuf to carry it off. For me, I found this to be a great
opportunity to contribute to our community and to play a role in bringing calligraphy to the attention of the public. Having worked in the business of bringing people together for over sixteen years, and having attended many conferences, I understand the great value of bringing people together in-person to share, and the inspiration and growth that that initiates, and I wanted to play a role in creating that. An unexpected benefit of this experience has been watching the organic growth of this incredible team of people who have stepped up to manage so many aspects of the conference. It is things like that, and the incredible encouragement that we receive regularly from all corners, that push us forward enthusiastically.
What is your vision for this conference?
My ideal vision for this conference is that it lasts well beyond its seven days and reaches people across the globe! With regard to faculty selection and workshop selection, I share the same vision that all directors before us and after us share and struggle with—to create a well-balanced, forward-thinking curriculum on all skill levels, taught by today’s most relevant and knowledgeable artists, craftspeople, and scholars. It is also essential that the venue for the conference meet the unique needs of a calligraphy conference. Sonoma State University has been a favorite conference site for two previous conferences and we are very excited to be returning again. What I hope for beyond those things, and this is my biggest vision for Write on the Edge, is that each of us uses the collective energy of Write on the Edge to return to our home towns and actively bring calligraphy into the public space through a renewed push toward public education (particularly youth education), mentorship, and calligraphy in public spaces (exhibits and mural programs).
