THE ADVANCED NATIONAL DIPLOMA IN CALLIGRAPHY

This level of the National Diploma is for those who have considerable knowledge and experience of calligraphy. As a guide, the period required to gain the Advanced Diploma from Intermediate level is considered to be a minimum of two full years' systematic study including tuition, support and practice. It is expected that you will have attained the Intermediate level or achieved a level of competence to enable you to enter directly at the Advanced level.

At this level you should be working with a considerable degree of independence and should be able to pursue ideas in a systematic and imaginative way with enjoyment. You must display a skilful and highly competent use of calligraphic forms and should be able to make informed decisions about your work in relation to your own strengths and weaknesses. You will be given credit where there is evidence that historical and contemporary influences have been adapted and interpreted, not merely imitated.

You should submit five modules, which include eight pieces; at least one piece in a basic hand, and other pieces which show the use of other alphabet styles, together with a critical analysis of a respected present-day lettering practitioner and a study of an historical scribe/letterer or illuminator, whose work is evident in manuscripts or inscriptions.

Three pieces, including one piece which shows the development of your own personal initiative and originality, should contain a substantial body of writing. As a guide (but not a rule) this should include a body of text which is about 80 words, this may be, say, the length of a sonnet, a poem of three verses of four lines each, or ten lines of continuous prose. For one of these pieces you should include the working stages, with notes, to show the progression of ideas. Other pieces can contain fewer words, where the design and layout may take a more prominent part.

The historical study may be hand-written, typed or produced on a computer and should be in your own words. Relevant illustrations and photocopies should be included to support the study. A bibliography should also be included. The study should also include your own experimental use of historic tools and materials such as quills, gesso and gold, egg tempera, etc. which are then applied in one or more of your finished pieces.

You should submit no more than 12 A2 (or 6 A1 or a combination of both sizes) mounting boards of finished work and working stages for one piece, together with the A4 or A3 historical study, analysis and practical experiments.

The Advanced Diploma - Modules A, B, C, D, E

Module A - Historical Studies and Analysis of the Work of a Contemporary Lettering Practitioner

In A4 or A3 format and in no more than approximately 3,000 of your own words, use photocopies, illustrations and photographs to give a critical analysis of one historical scribe/letterer or illuminator and one contemporary lettering practitioner. Make a study also of letter-forms used in selected historical manuscripts and of traditional tools and materials such as powdered pigments, gesso, gold, and include your own experiments and developments, which are then applied in Module D and can be used in other Modules if appropriate.

Module B - Two calligraphic pieces, including one piece showing personal initiative and originality

Two pieces, one with at least 80 words which shows the development of your personal initiative and originality, evident by making a choice of subjects which lend themselves to imaginative renderings and exploration of different ways of presentation. For this piece include the working stages from first roughs through to the finished design. Photocopies and paste-ups accepted. Attach these to a board so that it is easy for the Assessors to see the progression of your ideas. Add notes to the stages to make the decisions that you took regarding size(s) of lettering, layout, colour, design, etc clearer.

Module C - Two calligraphic pieces, one which shows informal and one which shows formal calligraphic designs

Two pieces, one formal and one informal, both showing skill and sensitivity in interpreting your text, one with at least 80 words.

Module D - Two calligraphic pieces which show the use of formal and informal decorative elements

Two pieces, which show the use of decorative elements in a formal and informal way, for example using gold, metals, heraldry (and similarly formal designed devices) where appropriate, one with at least 80 words.

Module E - A manuscript book and a design for reproduction or printing

A manuscript book in any format, and a design for reproduction or printing, such as a certificate or invitation (if the design has been printed, please include photocopies or paste-ups of the final piece before printing as well as the printed version).

The Advanced Diploma - Assessment Criteria

The overall method of assessment is to use the work submitted as evidence of the skill, knowledge, responsiveness and understanding developed by the candidate.

Criterion I - Analysis and Historical Study

The work submitted in A4 or A3 format should include photocopies, drawings, photographs, the candidate's own use of historic tools and materials, and other appropriate illustrative matter relevant to:

1. research into an historical scribe/letterer or illuminator;
2. studies of historical manuscripts including those manuscripts which relate to (a);
3. notes on historical materials and methods of working;
4. personal observations and views on the work of a contemporary lettering practitioner.

Criterion II - Calligraphy

The work submitted should show a consistently high level of understanding and skill in the formation of letters and their combination into words and text. Every piece of work submitted should demonstrate the candidate's ability to produce letter-forms which, to a high standard, are:

1. well-constructed, as shown by pen angle, number, beginnings and endings of strokes; ascenders and descenders, etc;
2. well proportioned and of an appropriate weight in relation to their size.
   There should be
3. consistent family characteristics in minuscules and majuscules within alphabets.
   Letters should be combined into words, lines, sentences and pages using
4. writing rhythm, together with
5. spacing and evenness of texture (except where variation is introduced to meet the design).

Criterion III - Design and Layout

The pieces of work submitted should collectively demonstrate a high level of skill and competence using calligraphic forms (together with decorative elements, where appropriate) to achieve design objectives. These will be assessed through:

1. appropriate use of colours and/or gold and other metals;
2. a variety of alphabets; differing weights and contrasting textures;
3. an appropriate relationship between text area and the design as a whole (including margins and decorative elements if these have been used).

Criterion IV - Creativity

The work submitted should demonstrate the ability of the candidate to perceive and respond to the connection between meaning on the one hand and design components such as colour, size, contrast, texture, pattern and layout on the other. In addition a significant proportion of the work should display a strong sense of originality in both concept and execution. Assessment will focus on

1. perception and selection of subjects which lend themselves to imaginative rendering and exploration of different ways of presentation;
2. sensitivity of interpretation, ie the quality of response to the meaning which the candidate perceives within the chosen texts;
3. awareness and response to the work of others, both calligraphers and other artists past and present;
4. originality in design ie freshness of ideas in the use of visual elements.

Criterion V - Skills and Techniques

The pieces of work should collectively demonstrate:

1. selection and appropriate use of materials as the basis of calligraphic and other appropriate techniques;
2. informed and disciplined use of materials and tools to develop ideas and themes.

Criterion VI - Working Process

Developmental work should be submitted which collectively shows evidence of:

1. imaginative exploration and investigation of the possibilities offered by the chosen media and subject matter, leading to
2. effective selection and development of working roughs into a finished product.

Candidates are encouraged to make concise notes and critical comments on the development process.