The design is complete and the text copy-fitted for my next variable manuscript book edition. I’m ready to start lettering.
So I’ve spent the past three days trying to decide what paper. I’ve been testing lettering and painting on various book papers, from Somerset Book to Hannemuehle Ingres to Lana Laid, and more.
All that testing has brought up ideas for other books, and reactivated my attention toward the “other” edition I’ve been working on. But first things first: I’ve got a lot of lettering to do on the present design. I’m totally absorbed in this one, but, objectively, these test marks might be more interesting.
I’m loving working in my studio every day. Can you tell?
We calligraphers have so many choices! Size, compression, letter spacing, slant, line spacing, ascender/descender length, color, weight, shape, serif, tool, paper, writing fluid — the list goes on and on. Sometimes I begin by lettering a line in as many ways occur to me within the parameters of the page size. It can be a way in to a new project.
I’ve been negligent here on my blog — has it really been two months? to the day! — but I’ve been working pretty steadily in my studio. Here are a few pages of daily lettering, mostly delving into gothicized italic and uncial letter forms.
I’ve been studying gothicized italic, a hand I’ve never mastered. I began by analyzing a handout of a Lincoln quotation that Sheila Waters provided in a long-ago workshop. I determined the x-height and pen-width, lined up a sheet of paper, penciled in the bare bones of the letters, and had at it. As I worked I made notes about surprising discoveries: “the s is wider than I had thought”, “the final stroke of the e continues diagonally and does not go horizontal”, and so on. Then I repeated the exercise without penciling in the skeletal letters. (I won’t sully Sheila’s reputation — or mine — by reproducing my practice sheets here!) Next, I put up another handout from Sheila, a reproduction of a piece of Edward Johnston’s gothicized italic writing. You can see a portion of that handout in the image above. Once again, I analyzed it, ruled up a sheet, and copied the lettering as closely as possible, making notes as before.
Finally, I wrote out this sheet, choosing another text. My goal was to stick to Johnston’s lettering closely yet adhere to some best calligraphy practices and to make it more my own. I didn’t care for the long thin finials on his t and h, and his standard r is so wild and woolly that the next letter must be shorter to compensate. Next time around I will work on letter width and spacing to better match Johnston’s: mine were both two wide. Also, I regretted the use of the alternate r on the 2nd line. It seems to work best next to another oval letter such as a p.
I’m pleased to have one of my works in the The 37th Bradley International Print and Drawing Exhibition in Peoria, IL. The openings – across six venues – are this afternoon and evening. I wish I could be there.
I’ve glimpsed my piece being installed in the Contemporary Art Center of Peoria … via Facebook.
This article about the resurgence of #bauhaus on social media on the AIGA website caught my interest when it was first published on January 8. I’ve kept open in a browser tab ever since, returning to read it several times since. And now I’m posting about it so I can close the tab 🙂 (Housekeeping is such chore.)
The article raises a few separate issues that resonate.
First, what does it mean when a hashtag gains popularity? Do those who post it know what they’re saying? We don’t know because it arrives with little or no context. And #bauhaus in particular! a concept that is all about context and interdisciplinary work, and which sought to weave art and craft into the fabric of everyday life.
And yet. And yet. As the article points out, social media has succeeded beyond every expectation in weaving itself into our everyday activities — without much of the art/craft, one could say. But new ways of communicating, the memes, the construction of meme generators — many of these are so creative and on-point.
As the article points out, both the Bauhaus school and the social media companies have attempted to present a neutral face, letting their students/users take the political stands. It hasn’t worked out well for Bauhaus or Facebook.
One of the interesting aspects of a freelance calligraphy studio is the wide variety of work. Lettering for Tom Morgan Rodsmiths is a great example. I appreciate getting to contribute my expertise to these hand-crafted fly rods.
I use sumi ink on the bamboo rods and gold ink on graphite and composite rods. Laying down the gold ink is sometimes a challenge. Also a challenge: writing on the curved surface of the rods with a pointed metal nib.