Bettye Lou’s Story

Bettye Lou graduated from the University of Illinois as a fine arts major in industrial design. Her first professional job came as an artist in small products for an industrial design company in Milwaukee, Wisconsin. Her first introduction to calligraphy was at OMSI in Portland. After her first class she went to The Portland Art Museum School to study with Lloyd Reynolds, who after a year’s study suggested she teach at Portland State University. 

Bettye became renowned within the PSU community as “the University Calligrapher.” She contributed to the calligraphy community by sharing her personal artistic expression and by teaching classes. 

In addition to Portland State, her teaching institutions have included Pacific Northwest College of Art (Portland Art Museum School), Portland University, Western State College at Monmouth, the Division of Continuing Education at Haystack, The University of Oregon, Reed College, Pearson College in Victoria, Canada, and the Oregon School of Arts and Crafts, as well as workshops in Oregon, Washington, and the Denver area. In 1999, Bettye became an Honorary Lifetime Member of the Portland Society for Calligraphy.

In her art, Bettye often uses a blend of historical scripts and original styles, each stroke revealing the essence of the text through abstract rhythms and visual poetry. Bettye’s work is especially influenced by two extended periods of living in Greece and Turkey. Her residence just south of Portland, Oregon, surrounded by fields, stands of evergreens, and meadows, also provides a solitude for study, contemplation, and creativity.

The impact of Bettye Lou Bennett’s commissioned and freelance work as a graphic artist is seen from the Pacific Coast east to Portland and south to Ashland. Her art pieces are found in private collections, The Smithsonian, Lloyd J. Reynolds Memorial Calligraphy Collection at the Portland Art Museum, and some Northwest galleries. 

A philosophy of individual expression is Mrs. Bennett’s legacy to the art world and to her students. She constantly challenges the viewer or the artist to discover and express his own interpretation of space, empty and filled, line and color of the total project.

Compiled from several articles, including a piece by Lillian Pierce from the PSC Jan-Apr 1985 newsletter