In the days of e-mail and text messages, we rarely put pen to paper.

When we do, particularly to write a letter to a friend, it is all the more satisfying. Some, with a love of lettering, go further, and try their hand at calligraphy.

Jilly Hazeldine is an expert in the field, with a passion for the subject – both its history and execution.

She holds classes in Ilkley, passing on her skills to men and women, some of whom have been attending her two-hour sessions for years.

“I like letters because I’m a trained designer, and I like the tactile experience of the ink on the page – it is a lovely movement,” she says.

A fellow of the Society of Scribes and Illuminators, Jilly studied graphics at the famous Glasgow School of Art, before going on to work for 20 years in the advertising industry in London.

In 1986 she moved to the Yorkshire Dales village of Austwick near Settle. She began to learn calligraphy and signed up to qualify as a teacher.

Jilly now teaches at colleges and at calligraphy groups across the UK and overseas. She exhibits her work, and is currently writing a book on the use of words and text within calligraphy.

The Ilkley courses, which last for seven or ten weeks – are run by the Workers’ Educational Association.

Watching Jilly moving the pen across the paper, sweeping and curling here and there, she makes it look effortless.

Broad-edged dip pens are commonly used on good quality paper. Quills are usually used on velum. “Not many modern scribes use vellum,” she says, referring to an on-going project, St John’s Bible, in which the Bible is being transcribed by calligraphers in the UK, on vellum for monks at St John’s Benedictine Abbey in the USA. When complete, it will be the first, hand-written, illuminated (illustrated using special techniques) bible produced in the modern era.

Many members of the class I attend are engrossed in copperplate – a style of writing that has its origins in metal engraving. It uses a flexible, pointed nib, whereby the thick and thin lines are made by pressure, and angle of writing is 55 degrees.

“There is an infinite number of different styles,” says Jilly, who learned the technique after being commissioned to update the family tree of a baroness. “When it arrived, it was written in copperplate, so I had to learn it,” she recalls.

Concentrating hard on his lettering, class member David Walker, breaks off to explain his love of the art.

A former signwriter, he left the trade many years ago but retained a leaning towards artistic lettering.

“I enjoy it, I find it relaxing, and it is something I can practise at home. There are so many different fonts – I tend to use ‘uncial’ – a traditional ancient alphabet.”

Uncials – from the Latin meaning ‘inch high’ –dates from the Middle Ages and was composed of capital letters. Today there are three main styles of calligraphy – Western or Roman, Arabic, and Chinese or Oriental.

“Up to the ninth century letters were all capitals, then the miniscule or small letters emerged, followed by the Gothic period,” explains Jilly.

“Calligraphy is so interesting – it encompasses history and religion,” she says. Scripts often reflect the architecture and fashion of different periods.

“The key letter in calligraphy is ‘0’. Most are based on the circle, explains Jilly. “We read letters from the shape that is within them as much as the letter itself.”

Long-time class member Val Wood loves the challenge presented by ancient works. “It is the thrill of transcribing from really old scripts – they are fascinating and require careful manipulation of the pen.”

Sue Jackson loves the patterns, colours and words, while Olwen Sharp links her love of calligraphy to her mathematical ability.

Members take their own materials, the principal tools being pens, which may be flat or round-nibbed, brushes, ink – usually water-based – and good quality paper.

Calligraphy is far more than rows of fancy lettering – it is about spacing, angles, control of the pen and fluency.

As in any art or craft, mistakes do happen.

“Yes, I sometimes slip, or make a spelling mistake,” confesses Jilly.

“Usually, I just swear under my breath and start again.”

Jilly’s classes are held at St Margaret’s Church Hall, Queen’s Road, Ilkley LS29 9QJ For more information contact Ivan Minto of the WEA on 01943 600870 or e-mail: yorkshumber@wea.org.uk or visit wea.org.uk/yh