Same quote, same basic layout as last week: all-over texture, no guidelines, fairly large lettering (for me, at least) … except that I used a Speedball Flicker B5 nib, and included a little bit of watercolor painting. Once time I picked up the #3 Mitchell nib (from last week) by accident, and wrote one word before I realized my mistake. Since the word was “alone” it seem appropriate to leave it … um … alone. (Sorry.)
Written out April 22 & 24 with a Speedball Flicker B5 nib and travel box of Winsor & Newton watercolors.
I love the idea of books transformed into jewelry. Colossal has written about jewelry maker Jeremy May, who designs jewelry from layers of vintage books. I particularly like seeing the jewelry situated in the vintage books from which they came.
My poster design was not chosen for this year’s Christmas Stroll, but I did get second place. The image of it in the newspaper today was tiny and grainy. This one is better:
That’s my plan. I try to practice lettering every day. Now my plan is to scan it and upload it every day too.
Today I had only about 15 minutes, so I used a scrapbook marker on a scan of some earlier painting printed on Mohawk Superfine paper — Eggshell, I think.
On a recent trip to Australia, I visited the best ever museum: the Museum of Old and New Art (MONA), up the river from Hobart, Tasmania. What a ride! And I’m not talking about the ferry we took from Hobart’s Sullivan Cove to the MONA — although that was a great way to start the journey.
Here are a couple of photos of one of my favorite installations, entitled “”.
Untitled installation at the MONA
A closer look at the untitled installation
I was aware of so many simultaneous reactions to this room full of blank white books — undergoing a kind of vertigo of meaning while critiquing a loose headband; contemplating the horror of a zombie library while wondering at the artist’s control in not making a mark in any of the books or shelves or tables; imagining the impact of one red dot while wondering at the impulse to find meaning even in this blank room; acknowledging the urge to make a mark somewhere while mulling over various criticisms of the blank book made within the artist book community; remembering a cartoon from my childhood in which all the musical notes came loose from the staves and fell off the page; thinking about invisible ink, the perils of magnetic media …
And that was just one work of art on the three subterranean floors of the MONA. We stayed all afternoon and didn’t see everything — not even close.
Here were some of the highlights for me:
“Kryptos” by Brigita Ozolins— winding corridors upon whose walls were a binary code translation of The Epic of Gilgamesh, with ancient cuneiform artifacts set into the walls at intervals;
“Pulse” by Rafael Lozano Hemmer — a row of incandescent bulbs (imported from China because the are illegal to buy in Australia), each one blinking at the heart rate of a visitor who stepped up to the monitor and recorded his or her pulse — and then you turn the corner into a room full of the bulbs;
“When My Heart Stops Beating” by Patrick Hall — open each of the floor-to-ceiling drawers to read text and hear a recorded “I love you”; it’s indescribable, you just have to be there, but here’s an article about it;
There are all kinds of ways to make guidelines for calligraphy. Here are some of the ways I do it:
A Word document. This downloadable Word document prints landscape on a letter-size sheet of paper − x-height of 10 points (a little larger than 1/8″) with a leading of 36 points (about 7/8″) and 35º slant lines. The slant lines are in the header/footer area.
An InDesign document, which provides more opportunity fine-tuned guidelines. Here is a downloadable PDF from an InDesign document which has many layers of guidelines − slant lines and regular − that I can turn on and off for a variety of combinations. I could have multiple columns, or a shape that breaks up the text, or other complications that don’t work so well in Word.
I like manually inked guidelines too, especially for large pieces. I use a lining guide, T-square and slantboard for these. John Neal provides instructions for using a lining guide here.
If you don’t want to make your own, you can generate some online at several websites: