Variety of Calligraphy

For our exhibition in November I have ensured that our guests will be amazed and delighted by the variety of calligraphic surfaces used for projects. Anything from ceramics to wooden logs.

The most important thing is that we have created some interesting pieces and with still a few surprises to enjoy before the exhibition.

 I think we will have an eclectic viewing experience for everyone.

Here are a few examples of most recent work:

 Chantal's log

 Jill's 'N'

 Jill's graphic log

 Ghita's 'S' on canvas

Ghita's flowers on pebbles

There are challenges that the artist has to deal with for the various surfaces. 

What paint to use? We used mostly acrylic inks mixed with gouache. 

Paint brushes need to be square and fine. 

Designs need to be worked so that they can be transferred from paper to surface. 

Other considerations are: will the surface hold the paint or will it run. 

How do you test the paint? 

Well hopefully you have a small little piece to test all the materials you've chosen to use.

Of course, the form of the letter needs to be as good as possible. 

I think that everyone has done her best and the standard of work is really most pleasing.

Once again, well done ladies!

Be prepared for the next classes where we will return to traditional inks, nibs and paper.

Poetry as Calligraphy

Calligraphers by their craft and art are word-collectors. Many words chosen are either biblical, favorite poets or words we pick up. I find that poetry sticks to me like a burr and words are an integral part of my creativity.

I love reading what other people choose. Some poems are amusing, some quirky, other phrases are though-provoking. Mostly these words reflect who the calligrapher. 

Of course in calligraphy we are interested in the interpretation of the words, otherwise why would we choose them?

My friend Lin Kerr is a great teacher and calligrapher and set me off on another journey of creativity. So often we see calligraphy interpretations of poems which are literal rather than interpretive. I have put together some suggestions on how to begin discovering alternative ways of creating unusual pieces. With the 30 year Exhibition in November I thought it would be a great idea to challenge Penfriends students.

Getting colours ready

On Poetry as Calligraphy:

Choose a poem:The words should speak to you. Remember to illustrate the words in calligraphy with a subtle indication of design. You of course will NOT illustrate the poem with a pumpkin if the poem is about Halloween.

Design, illustration, colour, lettering need to integrate and flow.

Do some research: Find at least 3 art-work ideas that you would like that you think will illustrate the poem chosen.

What materials will you choose? Paints, pens, brushes, pencil crayons, graphite.

Use: A3 layout and then stretch A3 Fabriano. Tracing paper is always good for testing layout.

Consider: If you were going to enlarge or contrast one word, phrase or sentence in the whole poem, which would it be?

Consider: Do any images, colours, jump out at you as you read the poem?

Lyn's piece

What style of lettering does the poem suggest? Italic is very versatile, Gothic marches across the page. Foundational suits classical traditional poems. Uncial is easy on the eye but a wide alphabet (so makes sentences very long) and is often used for “cute” stuff. In its proper context of course it’s a sacred script.  Never ever forget Skeleton Roman Capitals.

Consider your own style: is it cutting edge, modern, maybe chunky - Neuland perhaps? Or is it flowing and delicate? Perhaps cut letters will suit the words. Try out lettering to see which type suits the poem chosen.

Sounds are elusive think how they can be conveyed using a calligraphic style or colour. Colours may be elusive too, think vibrant colours juxtaposed. 

Important: Make swatches of colours to see what colour way and lettering will work best.

Consider the form of the poem; the poet’s layout, use of capitals etc. Are you permitted ‘creative license’? Would the poet mind if the form was changed to enhance the meaning or to allow the calligrapher to express it better?

Interview the poet if you can. The collaboration comes into it’s own if  calligraphers communicate with the poets. If the poet is long gone, imagine how and why the poem was written. 

Remember to read the poem aloud. The words will echo in your hand as you begin to write. 
Do several 'roughs'. This will help you decide on line and colour. Best if all, you will learn the poem off by heart - an added bonus. 

But most of all enjoy the creative moment. 

Homework and Other Creative Things

We all know that practice experimenting are the best ways to further the discipline we have chosen to follow.

My son John is an artist and draws every day. He carries a creative notebook with him all the time and makes notes continuously. My other son Dave is a paediatrician and in research and continues to probe, ask questions and make notes continuously. David, my husband, is a great photographer and always carries his camera with him - who knows what will catch his eye? Elizabeth our daughter is studying and is required to research and read continuously.

While this sounds like a litany of my family's work what I am illustrating is that no matter what you choose to do, an enquiring mind is how one is able to continually be creative. Creativity doesn't ever come to an end. The more you follow your passion, the more you will find.

From now on I sill be adding homework set during class to the blog so that everyone can follow progress in-between other posts.

Lyn's Abstract Piece

We are working towards the Penfriends Calligraphy Studio 30 year celebration in November. So creative work is being encouraged and completed.

We are making Portfolios for loose leaf work and for long-standing students, we encourage them to go through years of work so all can see the variety of hands and work that has been created.

Portfolios for your own exquisite work for the exhibition:

Requirements: Canson A1 sheet. The heavy weight Canson. Colour of your choice

Gros grain ribbon

Over the years we have made several small concertina books. This year we created some exquisite decorated letters with words to match. These now have to be covered.

Cover for Concertina Books:

Requirements: Use the backing page from any of the pads you use for practice

Cut 2 pieces 1/5cm larger than the size of your book. [Front and back cover]

Find paper suitable for your book which will cover the above pieces of cardboard

Gros grain ribbon 

I am always on the look out for various ways to create new ideas. Woolworths has some beautiful tins with soap inside. We have given the soap away and will be making pages using different lettering and quotes about art and calligraphy.

Tin books:

Choose 5 Canson colours [A4 is fine] that match the tin you have chosen

Cut 10 pieces - 2 of each colour 1/2 cm SMALLER than the size of the tin. 2 pages will be the front and back covers.

It is a good idea to have a template, try it out first and then cut.

This was an inspiration from a friend of mine Paddy. She gave me a series of 6 blocks for each student. We painted these a neutral colour and created abstract designs, using the calligraphic stroke as inspiration, from images found in magazines. We had some wonderful results.

Abstract design [Blocks}

Final decision re mounting the blocks: 1 piece BLACK mountboard 37cmx26cm [Any framer should be able to assist]

Double sided tape

Please mount your original 'inspiration' and 6 block-practice paper onto an A3 piece of paper [neutral colour]

And of course there is always Lettering. The reason we go to calligraphy classes. At the moment we are looking at Uncial and Compressed with wonderful reference material from Sheila Water and Edward Johnston. What a challenge we have.

Lettering:

Please practice Compressed/Uncial

Note the shape of the 'O' and then the other letters will follow.

Please find quotes on Art, Calligraphy, Lettering

Next week I will continue with each group's homework and progress. 

Happy creating

Penfriends Calligraphy - 30 years to celebrate

When I first started teaching I was (as we all are when we begin our new professions) enthusiastic and excited. I enjoyed every moment I spent with the little ones I taught. I was soon given the more challenging children and soon discovered that music and creativity was a great way to develop any confidence and enthusiasm which was well hidden.

This stood me in good stead for my own mothering and after my children had out-grown their dependence of me and thought their teacher's knew all and friend of mine and I decided we needed a hobby to move us from nappy changing whizz-kids to people with a little more than a degree in baby-burping. Kirsty and I scoured the Adult Education rosters and enrolled for courses on Chaucer and the Medieval culture, Bach and the Beetles and discovered that we did have brains after all and could converse at tedious dinner parties on more than the latest medication for German measles. Both of us decided that we now required 'creativity' in our lives and skipped cake icing for calligraphy which through the years has been the correct choice.

I discovered a passion for letters. Love the curve of a 'C' and the search for the perfect round 'O'. After a short course (dare I share this?) I was implored by a few friends to 'please teach us too' and so a class was organised and my first group consisted of five friends who sat around the dining room table. I taught with more enthusiasm than expertise, but my next teaching path was set. From these humble beginnings my teaching moved from dining room to studio which now has seen many students who share my love for letterform and who enjoy the challenges set in creative projects and the continued search for the perfect 'O'.

A single bracelet does not jingle - A-MM

Fortunately for all concerned my calligraphic expertise has been assisted by my concerted efforts to learn from the masters who include such luminaries as Dick Beasly, Denys Taipele, Stan Knight, Sheila Waters and her son Julian. Tim Botts, Denis Brown and many courses through the Roehampton College with Margaret Daubney can be included. I have also been fortunate to visit Maryland and Winchester, London and Cape Town to learn from calligraphers of great talent and expertise. Many of these people have stayed with me and I have some exquisite pieces created by them which grace my studio walls.

More recently Yves Laterme, Carl Rohrs and Massimo Pallermo have visited South Africa and left their particular mark on the calligraphers who so adeptly follow their progress. Ewan Clayton was a special visitor who spent hours talking calligraphy as did Beasly, who was so kind to our children.

Of course we have many talented South African calligraphers and Lin Kerr who now lives in England must be named as one, together with Heleen de Haas, Pam Jones and Paddy Balsdon are a few among many, many new and gifted calligraphers.

Thinking out of the Box

In 2013 I celebrate 30 years of teaching one of my passions: calligraphy. The many students who have sat around my studio tables, nibs poised, have enriched my life in so many ways. Thank you for trusting that we can always be creative and thank you for always allowing me to continue to search for that inimitable 'O'. The studio byline: 'Friendship through penmanship' could not ring more true.

One of my favorite quotations is: 'A single bracelet does not jingle'. This is true. Without the support of family, friends and students I would have little to celebrate this year.

So far 2013 has been packed with projects, highlights and of course, calligraphy. Next posting will be projects so far. You will be delighted and amazed.

The Intrepid Thursday morning group