Announcer: VISITING WITH HUELL HOWSER IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M. PARSONS FOUNDATION.

Huell: WELL, HELLO EVERYBODY.

I'M HUELL HOWSER.

GET READY FOR A LEARNING EXPERIENCE.

AND LET'S SET THE STAGE, BARBARA.

WE'VE AGREED THAT A LOT OF THE COMMUNICATION TODAY IS ELECTRONIC--BY EMAIL, BY COMPUTER, BY-- >> TEXTING.

Huell: TEXTING.

ALL OF THAT SORT OF THING.

BUT WE'RE KINDA OLD FASHIONED, AREN'T WE?

SO, WE'RE GONNA GO WAY BACK IN TIME ON THIS ADVENTURE TO LOOK AT THE WAY PEOPLE USED TO COMMUNICATE BY WRITING WAY BACK.

AND I MEAN WAY BACK IT STARTED.

AND THIS IS GOING TO BE VERY, VERY EXCITING.

IT'S SO EXCITING THAT I HAVE TAKEN OUT MY CONTACT LENSES, PUT IN MY NEW GLASSES.

BECAUSE I WANT TO BE ABLE TO FOCUS RIGHT IN, GET A FINE FOCUS AND SEE.

BECAUSE YOU REALLY GOT TO KNOW WHAT YOU'RE LOOKING FOR.

>> OH, YES.

Huell: AND WHAT WE'RE LOOKING FOR--WELL, TELL EVERYBODY WHERE WE ARE RIGHT NOW, BARBARA.

>> WE'RE AT THE KELLOGG-WEST POMONA CENTER.

IT'S A CONFERENCE CENTER.

AND WE'RE HERE AS THE CALLIGRAPHY SOCIETY OF LOS ANGELES.

Huell: THE CALLIGRAPHY SOCIETY OF LOS ANGELES.

THIS IS YOUR CONVENTION.

HERE'S THE CALLIGRAPHY RIGHT HERE.

AND THIS IS WHAT PEOPLE THINK OF WHEN THEY THINK OF CALLIGRAPHY.

THE OLD-FASHIONED WAY.

IS THIS CALLIGRAPHY OVER HERE?

LOOK AT THIS, CAMERON.

NOT JUST THE LETTERS BUT ALL OF THIS INTRICATE DESIGN.

>> IT'S AN ILLUMINATED VERSAL LETTER.

ALONG WITH THE GOTHIC LETTERS OF THE TEXT.

Huell: NOW HOW FAR BACK DOES CALLIGRAPHY ACTUALLY GO?

>> BACK IN THE ANCIENT TIMES, BEYOND THE ROMAN ERA.

Huell: THOUSANDS OF YEARS BACK.

>> THE SUMERIAN ERA.

Huell: WELL, WE JUST HAPPEN TO HAVE AN HISTORIAN RIGHT HERE WHO COULD HELP US ANSWER THAT QUESTION.

DEANNE, YOU'RE KIND OF THE CALLIGRAPHY HISTORIAN.

YOU'VE GOT A NICE LITTLE EXHIBIT RIGHT OUT HERE AS WE GO INTO YOUR CONVENTION.

AND THE FIRST THING THAT YOU WANTED TO SHOW ME WAS WHAT WAS IN THIS JAR.

NOW, I WOULD HAVE NO WAY OF KNOWING WHAT THIS WAS.

BUT WHAT IS IT?

>> WELL, THEY'RE LITTLE LICE ACTUALLY.

LITTLE DEAD BUGS.

Huell: DEAD LICE.

WELL, THAT'LL GET EVERYBODY'S ATTENTION.

WHAT ARE DEAD LICE DOING AT A CALLIGRAPHY CONVENTION?

>> WELL, THEY TURN INTO THIS WONDERFUL COLOR.

AND ANCIENTLY THEY FIGURED OUT THAT THOSE BUGS TURNED INTO THIS COLOR.

SO, THEY USED IT TO WRITE WITH AND TO COLOR PIGMENTS.

Huell: INK!

ANCIENT INK.

>> UH-HUH.

Huell: AND HERE'S ANOTHER FORM OF ANCIENT INK, RIGHT HERE.

>> THIS--A WASP STINGS AND OAK TREE AND IT FORMS GALLS.

AND YOU CRUSH THESE AND IT CREATES IRON GALL INK.

SO THAT IS AN ANCIENT INK.

Huell: AND YOU SAID THEY CAN ALMOST DO D.N.A WITH THIS TO SEE HOW OLD THE DOCUMENTS ARE.

>> BECAUSE IT SHINES WHITE UNDER AN ULTRAVIOLET LIGHT AND SO IF THEY'RE LOOKING TO SEE IF SOMETHING IS A FORGERY, THEN IF IT IS DONE WITH IRON GALL INK, THAT TAKES AWAY ONE OF THE CLUES THAT--WELL, IT WAS PROBABLY DONE ANCIENTLY.

Huell: NOW, WHEN YOU SAY ANCIENTLY, I'M NOT SURE BARBARA GAVE THE FULL ANSWER TO THAT QUESTION AS TO HOW FAR BACK THIS GOES.

HOW FAR BACK DOES CALLIGRAPHY GO?

>> WELL, CALLIGRAPHY REALLY IS OLDER IN CHINA, YOU KNOW, THAT'S--BUT WESTERN CALLIGRAPHY REALLY DID START WITH HE SUMERIANS AND THE SEMITES.

AND THEN OUR LETTER FORMS STARTED WITH THE LATIN AT THE ROMAN TIMES.

Huell: BUT THE CHINESE WERE AT LONG BEFORE ANYBODY ELSE.

AND WE'VE GOT.

HERE WE GOT THE QUILLS.

THAT'S WHAT THEY USED TO WRITE WITH THE LICE INK.

WE'VE GOT THESE INSTRUMENTS RIGHT HERE WHICH WERE USED AS PENS.

AND WE'RE GONNA SEE SOME OF THAT IN SOME OF THE WORKSHOPS WE GO TO BECAUSE WE'RE GETTING READY TO LEAVE YOUR NICE LITTLE HISTORICAL EXHIBIT.

THANK YOU VERY MUCH.

>> MY PLEASURE.

Huell: WHO WOULD HAVE KNOWN THIS IS A JAR FULL OF DEAD LICE?

>> AND I PAID MONEY FOR THAT.

Huell: BUT WE'RE GONNA GO BECAUSE YOU GOT WORKSHOPS ALL OVER THE CONFERENCE CENTER.

LOTS OF PEOPLE LEARNING NEW FORMS OF CALLIGRAPHY, LEARNING TO MAKE IT WORK WITH THEIR HANDS, AND WITH THE INK, AND WITH THE INSTRUMENTS.

WE'RE GONNA SPEND THE DAY AT THIS WONDERFUL CALLIGRAPHY CONVENTION.

NOW LET'S STAND RIGHT HERE.

HERE'S THE SIGN TO WELCOME US.

"THE SOCIETY FOR "CALLIGRAPHY WELCOMES"--AND IT'S A WRITTEN WITH A BIG FLOURISH THERE, CALLIGRAPHY--"MR. HUELL HOWSER."

WE GOT FROM THERE TO OUR FIRST CLASSROOM.

FIRST CLASSROOM AND THE STUDENTS ARE STANDING.

NOW WHY ARE YOU ALL STANDING?

WHAT ARE YOU STANDING UP FOR?

>> WE'RE LIMBERING UP.

Huell: YOU LITERALLY HAVE TO LIMBER UP.

>> OH, YEAH!

YOU GOTTA GET IN THE FLOW.

Huell: OH, ALL RIGHT.

SIT DOWN AND START.

ARE YOU READY TO START WORK?

>> CERTAINLY!

Huell: OK. NOW, THEY'RE GONNA BE DOING WHAT HERE?

YOU'RE THE INSTRUCTOR.

YOUR NAME IS?

>> I'M JANE CHIABATTA.

Huell: OK, JANE.

WHAT IS YOUR CLASS GETTING READY TO LEARN?

>> WELL, I'M GONNA SHOW THEM HOW TO FLOURISH THE LETTER FORM TO ALTER IT TO MAKE IT MORE ELEGANT LOOKING.

Huell: FLOURISH.

CAN YOU GIVE US A FLOURISH?

>> SURE.

I'M, UH--WHEN YOU DRAW A LETTER, YOU CAN ACTUALLY DRAW THE BASIC LETTER AND DO SOME FLOURISHING LIKE THAT.

Huell: OH, MY GOSH.

NOW, IS THIS USING AN OLD TECHNIQUE?

IS THIS EXACTLY LIKE A FLOURISH WOULD HAVE BEEN DONE BEFORE?

OR CAN YOU PUT YOUR OWN TAKE ON THE FLOURISH?

>> YOU CAN DO YOUR OWN VERSION ON IT BASED ON HISTORICAL FORMS.

SO, WHAT YOU DO IS ENHANCE THE LETTER TO MAKE IT MUCH MORE-- Huell: YOU REALLY ENHANCED THAT "U" AND THE "N." WOW.

BOY, THIS IS BEAUTIFUL LOOKING AT THIS, ISN'T IT?

>> WELL, IT'S BEAUTIFUL DOING IT.

LOTS OF FUN.

Huell: UH-HUH.

HOW'D YOU GET HOOKED ON IT?

I ASSUME YOU ARE HOOKED ON IT.

>> I'M VERY HOOKED ON IT.

YEAH.

Huell: HOW DID ALL THIS START?

>> WELL, I HAD SOMEONE DO WEDDING INVITATIONS FOR MY DAUGHTER.

AND I JUST THOUGHT IT LOOKED SO BEAUTIFUL, I SAID, "I'D LOVE TO TAKE CLASSES.

DO YOU TEACH?"

AND THE WOMAN SAID, "I DO TEACH."

AND SO THAT'S HOW I GOT STARTED.

>> THIS IS A BAMBOO REED PEN.

Huell: LOOK AT THIS.

THIS IS MADE OF BAMBOO.

YOU'RE DIPPING IT IN INK.

AND-- >> AND IT MAKES A MARK ON PAPER.

Huell: WOW!

>> THIS TOOL IS FOR SURE 3,000-YEAR-OLD TECHNOLOGY.

MAYBE AS MUCH AS 4,000-YEAR-OLD TECHNOLOGY.

EVERY LETTER YOU READ WHEN YOU READ THE NEWSPAPER IS BASED ON THIS TOOL.

Huell: REALLY?

>> THIS STROKE RIGHT HERE-- Huell: LOOK AT THIS.

THIS IS FASCINATING.

>> THAT IS EVERYTHING IN ONE STROKE THAT THIS TOOL CAN DO.

IT GOES FROM BEING RAZOR THIN.

Huell: VERY THIN RIGHT HERE.

>> TO VERY THICK AT THE END.

OR THE OPPOSITE WOULD BE--THICK HERE AND THEN WE GET DOWN TO HERE, AND IT'S RAZOR THIN.

Huell: WOW!

>> AND IF WE PUT THOSE 2 STROKES TOGETHER... WE HAVE...

THE LETTER "O."

Huell: LOOK AT THAT.

>> AND ALL THE TYPEFACES WHEN YOU READ THE PAPER IN THE MORNING, BASED ON THIS TOOL.

Huell: THAT IS AMAZING.

>> ASTONISHING TOOL.

Huell: DO MOST PEOPLE KNOW THIS?

I'VE NEVER HEARD THAT PEOPLE WROTE WITH SOMETHING AS BIG-- >> MAYBE NOT AS BIG.

THIS FOUNTAIN PEN RIGHT HERE--EXACT SAME TOOL BUT IT MAKES A STRONGER, SMALLER MARK.

BUT THIN TO THICK, THICK TO THIN.

Huell: SO, THAT'S THE STYLE?

THICK TO THIN, THIN TO THICK.

>> YEAH.

Huell: AND THAT'S CALLED?

>> UM, WRITING.

THAT'S WHAT IT'S CALLED.

IT'S WRITING.

BUT IT'S WRITING WITH THE PROPER TOOL.

A BALL POINT PEN IS THE WORST THING TO HAPPEN TO DECENT HANDWRITING IN 3,000 YEARS.

Huell: SO, YOU'RE SAYING WE SHOULD ALL HAVE A REED?

>> YES.

I NOTICED THERE ISN'T ONE IN YOUR POCKET.

YOU PROBABLY WRITE WITH A BALLPOINT PEN, DON'T YOU?

Huell: I KNEW WE WERE GONNA GO BACK IN TIME.

I DIDN'T KNOW I WAS GOING TO HAVE TO THROW OUT MY FOUNTAIN PEN AND START WRITING WITH A REED.

BUT IT'S KINDA INTERESTING ISN'T IT?

>> OH, YEAH.

BUT IT'S LOTS OF FUN AND HARD WORK.

Huell: NOW IS THIS WHAT YOU'RE LEARNING DURING THIS CONVENTION IS THIS PARTICULAR TYPE OF CALLIGRAPHY?

>> YES, IT IS.

Huell: SO, IN THE PAST, YOU HAD DONE OTHER THINGS.

NOW YOU'RE FINE-TUNING IT A LITTLE BIT.

>> OH, DEFINITELY.

I'M NEW AT THIS.

Huell: LOOK AT THIS!

THIS DOESN'T GET MONOTONOUS?

>> IT DOES GET A LITTLE MONOTONOUS.

YES, IT DOES.

Huell: SO HOW DO YOU KEEP YOURSELF MOTIVATED?

>> BECAUSE YOU CAN SEE YOUR PROGRESS AS YOU GO.

YOU KEEP PRACTICING HOUR AFTER HOUR, DAY AFTER DAY, YEAR AFTER YEAR.

AND IT GETS BETTER AND BETTER.

Huell: HOW DO YOU USE THIS IN A PRACTICAL WAY?

>> IN A PRACTICAL WAY--OH, YOU CAN WRITE OUT ANYTHING INTERESTING AND MAKE IT LOOK BEAUTIFUL.

AND IT'S JUST ABOUT WRITING BEAUTIFULLY.

Huell: BUT PEOPLE DON'T WRITE ANYMORE.

>> WELL, WE DO.

Huell: I GUESS, I'M SAYING THAT IN THE WRONG GROUP, AREN'T I?

>> WE WRITE.

WE WRITE.

THAT'S WHAT WE'RE ABOUT.

THAT'S WHY WE'RE HERE.

Huell: NOW LINDA GOT SOME TRAINING IN PENMANSHIP, DIDN'T YOU, LINDA?

>> YES.

WE USED TO TEACH IT IN SCHOOL A LONG TIME AGO.

Huell: YOU WERE A SCHOOL TEACHER?

>> RIGHT.

Huell: SO, THIS COMES NATURALLY.

>> WELL, I DON'T THINK IT COMES NATURALLY.

YOU HAVE TO PRACTICE.

AND THE MORE YOU PRACTICE, THE BETTER YOU GET.

Huell: SO, YOU'RE LEARNING NOW TO DO THIS.

IN THE PAST, YOU HAD MASTERED OTHER FORMS OF CALLIGRAPHY.

>> WE'VE DONE UTCHIL, ITALIC.

THERE'S LOTS OF DIFFERENT--COPPERPLATE--THERE ARE ALL KINDS OF DIFFERENT HANDS.

Huell: WOW!

SO, IT'S A CONTINUING LEARNING EXPERIENCE.

>> AND WE TRY TO GET NEW PEOPLE INVOLVED.

AND YOU ADDRESS YOUR CHRISTMAS CARDS IN THIS BEAUTIFUL WRITING.

AND THEY THROW AWAY THE CARD AND KEEP THE ENVELOPE.

Huell: YEAH.

BUT THAT GETS 'EM HOOKED ON IT.

>> THAT'S RIGHT.

AND LOTS OF THESE PEOPLE IN HERE ADDRESS WEDDING INVITATIONS AND DESIGN THE WHOLE WEDDING INVITATION.

AND THAT'S PART OF THEIR WORK.

Huell: YOU'RE WEARING YOUR GLASSES JUST LIKE I AM.

SO, THERE IS A REASON TO WEAR GLASSES WHEN YOU'RE DOING THIS?

>> MOST DEFINITELY.

YOU SEE ALL THESE DIFFERENT LITTLE JOINDERS HERE?

I HAVE TO GET THOSE EXACTLY AT THE RIGHT PLACE.

BECAUSE IF THEY'RE NOT AT THE RIGHT PLACE, IT'S GOING TO BE A DIFFERENT LETTER FORM.

Huell: WOW.

SO THIS REALLY COULD PUT A STRAIN ON YOUR EYES DOING SOMETHING THIS--BECAUSE IT'S REALLY PERFECT, ISN'T IT?

>> WELL, WE TRY.

WE WANT IT TO BE PERFECT.

Huell: YEAH.

>> BUT YOU JUST GOTTA LINE EVERYTHING UP PERFECTLY.

AND YOU KNOW, BE ABLE TO SEE EXACTLY WHERE YOU'RE GOING.

>> ACTUALLY WE'RE NOT LOOKING FOR PERFECTION.

IT'S THE LITTLE IMPERFECTIONS THAT GIVE IT LIFE.

LIVELINESS.

Huell: WHEN YOU LOOK AT THE OLD MANUSCRIPTS, YOU SEE THOSE TINY LITTLE IMPERFECTIONS.

>> WELL, YOU'LL SEE THINGS IN VERY, VERY LUXURIOUS MANUSCRIPTS, LIKE WHEN THE LIMBOURG BROTHERS WERE DOING MANUSCRIPTS FOR THE DUC DE BERRY WHERE THEY HAD 75 DIFFERENT SHADES OF WHITE.

THEY WOULD TAKE AND THEY'D CROSS SOMETHING OUT VERY CLEARLY.

AND THEN THEY'D WRITE THE CORRECTION RIGHT OVER IT RIGHT IN ONE OF THESE EXTRAORDINARY LUXURY MANUSCRIPTS.

Huell: WELL, SEE THAT'S WHAT GIVES IT THE PERSONALITY AND THE HUMAN TOUCH THAT YOU DON'T GET WHEN YOU'RE JUST CHURNING THINGS OUT ON A PRINTING PRESS.

>> TYPE DOES NOT HAVE.

CALLIGRAPHY IS ALL ABOUT LIVELINESS AND LIFE AND THE HUMAN TOUCH.

THE HUMAN TOUCH--YOU SAID IT PERFECT.

THAT'S WHAT IT'S ABOUT.

Huell: WOW.

THAT IS SO BEAUTIFUL.

YOU JUST DO ALL THIS FREEHAND.

IT'S ALL FREEHAND.

>> IT'S ALL FREEHAND.

Huell: WE'RE MOVING UP THROUGH HISTORY.

WHAT'S NEXT BARBARA?

>> WE'RE LOOKING AT ITALIC NOW.

Huell: ITALIC?

NOW WHAT IS--WHAT'S THE HISTORY OF ITALIC?

>> WELL, YOU CAN SEE THE STYLE HAS CHANGED QUITE A BIT FROM THE BLACK LETTER THAT YOU JUST SAW.

NOW WE'RE LOOKING AT A SLANTED LETTER FORM.

THE SCRIBES WERE TRYING TO LOOK FOR WAYS TO WRITE A LITTLE FASTER.

AND EVERYTHING'S MOVING AT A SLANT NOW.

AND A LITTLE BIT SMALLER.

SO, THE WAY MOST OF THEM WERE ABLE TO WRITE-- Huell: SO, THIS WAS QUICKER?

THIS YOU COULD CHURN OUT MORE MATERIAL.

>> ABSOLUTELY.

Huell: WHERE'S THE PROFESSOR HERE?

>> THIS IS MELISSA.

Huell: HI.

AND ITALICS.

EVERYBODY HAS THEIR OWN SPECIALTY.

HOW DID YOU GET INTO ITALIC?

>> WELL, I DO ALL KINDS OF LETTERING STYLES.

BUT THIS IS THE ONE I'M TEACHING AT THIS CONFERENCE.

Huell: IS THIS HARDER THAN SOME OF THE THINGS WE'VE SEEN?

WE'VE SEEN PEOPLE WRITING WITH PIECES OF WOOD.

>> WE HAVEN'T BEEN DOING THAT, CLASS.

HAVE WE?

WHAT DO YOU THINK?

YOU GUYS THINK IT'S HARDER THAN...?

>> THIS IS HARD.

Huell: IT IS?

>> IT'S VERY HARD BECAUSE IT'S VERY EXACT.

Huell: YEAH.

>> IT'S NOT FREE AND FLOWING.

Huell: BUT WE'VE HEARD THAT ALSO THERE IS ROOM FOR ERROR.

AND THAT'S WHAT MADE IT HUMAN AND WHAT MADE IT INTERESTING WAS WHEN THEY USED TO MAKE LITTLE MISTAKES.

>> WE'RE NOT COMPUTERS.

>> AND WHAT DID I TELL YOU ABOUT YOUR GRADE?

>> YOU DON'T GET AN "A" UNLESS YOU MAKE A MISTAKE.

Huell: YEAH.

IS IT HARD TO DO THIS?

I DON'T THINK I COULD DO THIS IF YOU MADE ME DO IT.

>> WOULD YOU LIKE TO TRY?

Huell: NO.

NO.

THIS IS BEYOND ANYTHING I THINK I COULD EVER DO.

>> THIS IS WHY WE COME TO THESE WORKSHOPS.

BECAUSE IT DOESN'T COME NATURALLY.

IT'S A VERY LEARNED, PRACTICED CRAFT.

Huell: SO, IT'S PRETTY ROUGH IN HERE?

>> WE'RE JUST DOING STROKES AND STROKES AND HAIRLINES AND... GETTING YOUR NIB LINED UP.

PRESSURE AND RELEASE.

Huell: NIB LINED UP.

>> YES.

AT THE PROPER ANGLE.

AND PRESSURE AND RELEASE.

AND SOME LITTLE SECRET CURVES.

SOMETIMES YOUR MOST CREATIVE WORK COMES BECAUSE YOU'VE MADE A MISTAKE AND YOU HAVE TO FIGURE OUT A WAY TO MAKE IT WORK IN THE CONTEXT OF THE REST OF THE PIECE.

Huell: TO GET AROUND IT.

>> EXACTLY.

Huell: SO THERE'S A WHOLE HISTORY HERE OF, YOU KNOW, THE WAY IT STARTED WAS BY HAND.

>> RIGHT.

Huell: THEN THAT BAD OLD PRINTING PRESS CAME ALONG AND PUT A STOP TO ALL THIS.

>> THE INVENTION OF THE PRINTING PRESS WAS NOT A BAD THING BECAUSE IT BROUGHT LITERACY TO THE MASSES OF ALL PEOPLE AWAY FROM THE CHURCH.

AND MOVEABLE TYPE WAS BASED ON THE HAND LETTER FORM.

IT WAS BASED ON BLACK LETTER.

IT WAS BASED ON ITALIC.

AND THAT'S WHAT GUTENBERG USED IN THE BIBLE WAS BASED ON BLACK LETTER.

Huell: OH, THAT SCRIPT.

THAT SAME KIND OF-- >> THE SAME SCRIPT.

AND THEN YOU'RE RIGHT.

IT DID WAX AND WANE OVER THE CENTURIES.

BUT THEN IN 1899 THERE WAS A CRAFTSMAN IN ENGLAND NAMED EDWARD JOHNSTON.

HE'S LIKE THE HERO OF OUR ART.

HE WENT TO THE BRITISH MUSEUM AND STUDIED THE OLD MANUSCRIPTS, FIGURED OUT HOW THEY WERE MADE, AND THEN STARTED TEACHING IT IN ENGLAND.

AND THEN IT SPREAD THROUGHOUT THE WORLD IN THE 20th CENTURY.

Huell: SO, CALLIGRAPHY HAD A COMEBACK.

>> WESTERN CALLIGRAPHY AS WE KNOW IT HAD A COMEBACK IN 1899.

Huell: AFTER BEING ELLIPSED BY THE PRINTING PRESS FOR SEVERAL HUNDRED YEARS.

>> AND THEN HE TAUGHT PEOPLE.

AND THEY BECAME TEACHERS AND TAUGHT PEOPLE.

AND THEN THEY CAME TO AMERICA, AND THEY TAUGHT PEOPLE.

AND IT ALL WENT ON FROM THERE.

Huell: AND HERE WE ARE TODAY IN POMONA.

>> THAT'S RIGHT.

Huell: NOW, JO-ELLEN IS DOING WHAT, JO-ELLEN?

>> I'M TRYING TO REPEAT A PARTICULAR LETTER UP HERE AND BE CONSISTENT IN DOING SO.

Huell: MM-HMM.

IS THAT HARD?

>> IT'S VERY DIFFICULT.

Huell: [LAUGHING] YOU'RE NOT HAPPY WITH YOUR WORK HERE.

WHAT ARE YOU DOING RIGHT HERE?

>> I'M HAPPY WITH THIS WORK RIGHT HERE.

WHERE THAT BLACK DOT IS.

THAT "T." I'M NOT HAPPY WITH ANYTHING ELSE.

THIS WAS PRETTY GOOD, BUT I DIDN'T DO THE TOP RIGHT.

THIS TOP IS MUCH BETTER.

Huell: SO IT TAKES A LOT OF PRACTICE.

>> YES.

WELL MANY TIMES WE DO IT.

WE DO IT IN PENCIL.

THEN WE DO IT IN INK.

Huell: BOY, YOU'VE BEEN PRACTICING ALL DAY.

>> YEAH.

THIS I DID IN PENCIL.

Huell: WOW.

IS THERE A DIFFERENCE BETWEEN PEN AND PENCIL?

>> OH, YEAH.

WELL, IT'S A MATTER OF DARK AND LIGHT.

AND ERASURES AND THINGS.

Huell: NOW WHAT IS THIS CALLED?

THIS IS YOUR CLASSROOM.

>> THIS IS MY CLASSROOM.

AND THIS IS A DIFFERENT STYLE THAN YOU SAW PREVIOUSLY.

YOU WERE LOOKING AT BROAD EDGE PEN WORK BEFORE.

WELL, NOW WE'RE USING THE POINTED PEN.

Huell: BOY, LOOK AT THIS PEN OVER HERE.

THAT IS A VERY FINE TIP.

>> IT IS.

IT'S A FLEXIBLE POINT-- >> IT MAKES A HOLE IN YOUR SKIN.

Huell: IT MAKES A HOLE IN YOUR SKIN?

>> YEAH.

WHEN YOU POKE YOURSELF.

YEAH.

>> YOU HAVE TO BE CAREFUL.

Huell: WHAT IS THIS CALLED?

>> THIS IS A STYLE WE'RE DOING AN ACTUAL STYLIZATION OF COPPERPLATE.

AND THIS IS A STYLE THAT ORIGINATED IN ABOUT THE 17th CENTURY.

SO, WE'RE MOVING ON IN TIME YET AGAIN.

AND THE PEOPLE INVENTED A WAY TO WORK IN A MORE SCRIPTED SORT OF LOOK.

SO EVERYTHING'S MORE CURSIVELY DONE.

AND PUT TOGETHER IN A LIGHTER TOUCH.

Huell: SEE, I THINK UNTIL TODAY I THOUGH CALLIGRAPHY WAS CALLIGRAPHY WAS CALLIGRAPHY.

I DIDN'T UNDERSTAND THE FINE POINTS, PARDON THE PUN.

>> VERY GOOD.

Huell: FINE POINTS, RIGHT?

WAS THAT A GOOD CALLIGRAPHY JOKE?

PLAY ON WORDS?

>> THAT WAS VERY GOOD.

Huell: CALLIGRAPHERS LIKE TO HAVE A GOOD TIME.

>> WE DO.

WE DO.

WE HAVE A GOOD TIME.

Huell: ACTUALLY, YOU ARE HAVING A GOOD TIME.

>> A VERY GOOD TIME.

Huell: BECAUSE A LOT OF PEOPLE WOULD LOOK AT THIS AND SAY, "BOY, THEY'RE HAVING TO DO A LOT OF WORK.

THIS IS LIKE GOING TO SCHOOL AND DOING YOUR HOMEWORK."

>> THAT'S WHAT A LOT OF PEOPLE SAY TO ME.

YOU'RE DOING WHAT AGAIN?

Huell: AND HOW DO YOU TALK THEM INTO THE IDEA THAT THIS IS ACTUALLY SOMETHING FUN TO DO?

>> WHEN THEY SEE THE FINISHED PRODUCT.

THEN THEY ENJOY IT AND THEY GO, "CAN I LEARN THAT?"

ANYBODY CAN.

JUST TAKES A LOT OF PRACTICE.

Huell: NOW WHAT ARE YOU DOING THERE, EVELYN?

ARE YOU DOING--THAT LOOKS LIKE AN INVITATION OF SOME SORT.

>> NO, I'M MAKING A BOOK.

Huell: A BOOK!

>> AND THESE ARE THE DIFFERENT PAGES.

Huell: THEY'RE DOING A WHOLE BOOK IN CLASS?

>> ABSOLUTELY.

THIS IS THEIR HOMEWORK AND THEIR ASSIGNMENT.

Huell: OH, MY GOSH.

IS THIS GOING TO BE A BIG BOOK, A THICK BOOK?

>> NO.

IT'S, UM, LET'S SEE--1, 2, 3.

AND THEN THEY'LL GO INTO EACH OTHER.

AND THEY'LL BE-- Huell: 'CAUSE THE MONKS DID THE WHOLE BIBLE AND STUFF LIKE THAT.

>> WE'RE NOT QUITE WAITING THAT LONG TO COMPLETE THE BOOK.

Huell: SO THIS IS THE FINISHED PRODUCT.

LOOK AT THIS.

THIS IS A LITTLE HAND-DRAWN, HAND-CRAFTED BOOK.

AND THIS IS ALMOST LIKE A PIECE OF ART.

>> YES.

IT IS A PIECE OF ART.

AND THAT'S WHAT WE LOVE TO THINK ABOUT--A MINIATURE PIECE OF ART.

AND A WAY TO HAVE TACTILE APPLICATION--HOLDING THE BOOK WORKS REALLY WELL.

Huell: WHAT WOULD YOU DO WITH SOMETHING LIKE THIS?

>> WELL, LIKE I SAID, IT'S A PIECE OF ART.

AND PEOPLE LOVE LOOKING AND HOLDING AND ACTUALLY SEEING THE DIFFERENT STYLES THAT PEOPLE DO.

OUR HOMEWORK IS TO DO A POINTED PEN BOOK.

AND THAT'S WHAT I'M SHOWING A LOT OF SAMPLES FOR THE FOLKS TO BE ABLE TO EMULATE.

Huell: AND THIS IS ALL DONE BY HAND?

>> ALL DONE BY HAND.

Huell: SEE, I THINK PEOPLE IN TODAY'S WORLD WOULD HAVE A HARD TIME BELIEVING THAT SOMETHING LIKE THIS--WELL, THAT ANYTHING TODAY-- >> DONE BY HAND.

Huell: IS DONE BY HAND.

>> AND WE ALL LOVE IT HERE.

THIS IS WHAT IS SO THRILLING TO BE ABLE TO SHOW PEOPLE AND LET THE PUBLIC KNOW THAT WE DO THIS STUFF STILL.

AND THERE ARE CLASSES AVAILABLE.

Huell: SO HERE'S TEACHER BARBARA STANDING BY HER SIGN HERE FOR THE CLASS.

YOU GOT THE ALPHABET FROM A TO Z.

>> AND THIS I A FORMAL COPPERPLATE ALPHABET.

THIS IS AN INFORMAL COPPERPLATE ALPHABET.

Huell: YEAH, WHEN YOU GET UP HERE CLOSE TO THIS, YOU CAN TELL THE DIFFERENCE.

THIS IS MUCH MORE STRUCTURED UP HERE.

AND IT'S A LOT MORE LOOSEY GOOSEY DOWN HERE.

>> INFORMAL.

YES.

YES.

Huell: YOU DON'T CALL IT LOOSEY GOOSEY.

>> NO.

Huell: THEY'RE IRONING AT THE CALLIGRAPHY CONVENTION.

NOW, THIS HAS CAUGHT ME TOTALLY OFF GUARD.

I ASSUME THIS HAS SOMETHING TO DO WITH CALLIGRAPHY.

>> IT DOES.

YOU HAVE TO IRON THE FABRIC SO YOU CAN LETTER ON IT.

Huell: OH, YOU'RE LETTERING FABRIC.

>> EXACTLY.

Huell: NOW DOES THAT GO BACK IN HISTORY OR IS THAT A NEW USE?

>> KINDA A NEW USE.

YEAH.

Huell: SO SHOW ME WHAT--HOW DOES THAT--WHAT'S HAPPENING?

>> GOSH, WE'VE GOT STUDENTS HERE THAT ARE GOING CRAZY.

FIRST THEY PAINTED THE FABRIC.

AND THEN NOW THEY'RE GOING TO START TO ADD PHOTOS AND LETTERS.

Huell: I DON'T SEE ANY PAINTED FABRIC.

OH, HERE IT IS.

OH, LOOK!

OH, WOW.

SO, THESE ARE PHOTOS OF YOUR FAMILY HERE?

>> YEAH.

THE GRANDCHILDREN.

Huell: AND WHAT ARE YOU GONNA DO WITH THIS?

YOU GONNA FRAME THIS?

ARE YOU GONNA-- >> WE'RE GONNA MAKE A FABRIC BOOK.

Huell: A FABRIC BOOK!

>> YES.

WITH ALL LETTERS AND PHOTOS.

IT'S A NEW KIND OF SCRAPBOOK.

Huell: OH, THIS IS VERY ARTISTIC.

IN FACT, YOU LOOK LIKE AN ARTISTE OVER HERE.

LOOK AT THIS.

WOW!

>> YEAH.

IT'S LOTS OF FUN.

Huell: NOW THIS LOOKS--THIS IS TOTALLY DIFFERENT FROM ANYTHING WE'VE SEEN SO FAR TODAY.

>> WELL, THE IDEA IS TO JUST PLAY AND SPLASH THINGS DOWN AND SEE WHAT HAPPENS.

NOW THAT'S NOT THE WAY THE MONKS DID IT.

>> NO.

IT'S NOT.

Huell: THEY WEREN'T PLAYING.

AND THEY WEREN'T SPLASHIN' THINGS DOWN.

>> WE'RE THE ANTI-MONKS.

Huell: WHAT ARE YOU DOING HERE?

>> I'M MAKING A LITTLE BOOK.

Huell: MAKING A LITTLE BOOK.

OH, LOOK.

LOOK AT THIS.

YOU'VE GOT YOUR OLD FAMILY PICTURES HERE.

>> FROM A LONG TIME AGO.

Huell: SO YOU'RE GONNA PUT THIS TOGETHER.

>> RIGHT.

IN THE FABRIC BOOK.

Huell: WOW!

>> SO IT'S GOING TO BE A REAL MEMENTO.

Huell: WOW.

WHO THOUGHT THIS UP?

>> LISA.

LISA THE TEACHER.

Huell: SO, THIS IS ALL YOUR IDEA.

>> NO.

NO.

NO.

NO.

I JUST STARTED WRITING ON FABRIC BECAUSE I WAS LAZY.

Huell: WHAT ABOUT HIS LADY?

THIS LADY'S SPRAY PAINTING OVER HERE.

YOU'RE CHEATING.

>> THIS IS MY CALLIGRAPHY.

Huell: HA HA.

YOU'RE USING--WHAT ARE YOU DOING?

CAN WE HOLD THIS UP OR DOES IT NEED TO DRY?

>> WELL, WE CAN TAKE-- Huell: OH, YOU'RE SPRAYING THE LETTERS.

BE CAREFUL.

DON'T MESS IT UP.

>> YEP.

IT'S NOT COMING OUT YET.

NOT ENOUGH.

Huell: SO, IT'S TRIAL AND ERROR STILL.

>> WE'RE PLAYING.

I'M JUST PLAYING.

>> NO ENDING IS FINE.

YOU CAN JUST PLAY.

YOU DON'T HAVE TO HAVE PERFECT LETTERS.

YOU CAN JUST HAVE FUN LETTERS.

Huell: WOW!

LOOK AT THIS.

NOW, THIS--THIS IS A FUN GROUP.

I THINK I COULD LEARN.

I COULD GET INTO THIS.

>> YOU HAVE FUN PLAYING IN THIS CLASSROOM.

Huell: NOW, I'VE FOUND SOMETHING I CAN DO.

>> GOOD!

>> YOU CAN DO IT!

Huell: CAN YOU DO THOSE STRAIGHT LINES.

>> BARELY.

Huell: THAT'S WHY YOU'RE IN THIS CLASS INSTEAD OF THE ONES WE'VE BEEN TO SO FAR TODAY.

HER FINE POINT DOES NOT WORK WITH THIS.

WELL, WE HAVE HAD A WONDERFUL TIME.

THIS IS SUCH AN INTERESTING ART FORM.

AND I CALL IT ART FORM BECAUSE IT REALLY IS, ISN'T IT?

>> ABSOLUTELY.

WE WANT EVERYBODY TO KNOW IT IS AN ART FORM.

Huell: WELL, IT'S SOMETHING THAT STARTED THOUSANDS OF YEARS AGO IN CHINA, WORKED IT'S WAY AROUND THE WORLD, HAD ITS UPS AND DOWNS.

AND NOW IT IS BACK.

>> AND WE'RE DOING ART WITH IT.

WITH ALL THE GORGEOUS LETTERS THAT WE'RE LEARNING.

Huell: WELL, I'M ENDING UP IN THIS ROOM BECAUSE, LADIES, YOU ALL ARE MY FAVORITE GROUP.

NOTHING WRONG WITH THE OTHER GROUPS.

BUT BOY THIS IS THE PARTY GROUP IN HERE.

WE'RE ENDING WITH A FLOURISH.

OPEN IT UP, LADIES.

'CAUSE LOOK WHAT THEY'VE GIVEN ME AS A GOING AWAY PRESENT.

THEY'VE SPELLED OUT MY NAME... AND EACH LETTER IS DONE... >> BY A DIFFERENT ARTIST.

Huell: IN A DIFFERENT STYLE.

>> DIFFERENT STYLE.

ABSOLUTELY.

Huell: NOW I'M GONNA TAKE THIS HOME AND FRAME IT.

>> WE'RE PLEASE TO GIVE IT TO YOU.

AND THANK YOU SO MUCH FOR BEING HERE.

Huell: WELL, THANK YOU SO MUCH FOR INVITING ME TO SPEND THE DAY.

WE'LL PUT THE WEB SITE--BOY, I HATE TO GET PEOPLE COMMUNICATING BY WEB.

BUT WE CAN'T DO EVERYTHING BY HAND.

>> THEY CAN SEE IT THIS WAY.

Huell: WE'LL PUT THE WEB SITE, THE PHONE NUMBER, AND THE ADDRESS THAT YOU CAN WRITE IF YOU WANT TO GET INVOLVED WITH THIS GROUP.

>> EXCELLENT.

Huell: CALLIGRAPHY--THIS WONDERFUL OLD ART FORM THAT IS ALIVE AND WELL AND DOING JUST FINE.

THANK YOU VERY MUCH.

>> IN CALIFORNIA Huell: CALIFORNIA'S GOLD.

THAT'S WHAT IT'S ALL ABOUT.

WE'VE HAD A WONDERFUL TIME HERE TODAY, LEARNING ALL ABOUT CALLIGRAPHY.

>> IN 1899 THERE WAS A CRAFTSMAN IN ENGLAND NAMED EDWARD JOHNSTON.

HE'S LIKE THE HERO OF OUR ART.

HE WENT TO THE BRITISH MUSEUM AND STUDIED THE OLD MANUSCRIPTS, FIGURED OUT HOW THEY WERE MADE, AND THEN STARTED TEACHING IT IN ENGLAND.

AND THEN IT SPREAD THROUGHOUT THE WORLD IN THE 20th CENTURY.

Huell: SO, CALLIGRAPHY HAD A COMEBACK.

>> WESTERN CALLIGRAPHY AS WE KNOW IT HAD A COMEBACK IN 1899.

Huell: AFTER BEING ELLIPSED BY THE PRINTING PRESS FOR SEVERAL HUNDRED YEARS.

>> AND THEN HE TAUGHT PEOPLE.

AND THEY BECAME TEACHERS AND TAUGHT PEOPLE.

AND THEN THEY CAME TO AMERICA, AND THEY TAUGHT PEOPLE.

AND IT ALL WENT ON FROM THERE.

Huell: AND HERE WE ARE TODAY IN PAMONA.

>> THAT'S RIGHT.