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.
