'Homework' by A-MM

You might or might not know that this year I have been teaching calligraphy for thirty years.

I've had much more fun than anyone involved in the 30 year war and certainly have had as much fun as anyone celebrating a thirtieth wedding anniversary, which is pearl. Pearls of wisdom I have learned and have learned much more than I have ever taught. I have {mostly} enjoyed every moment of the classes I have prepared and presented.

Penfriend's Studio celebrations are set for 20 and 21 November with wonderful workshops and surprises planned. So if you are in the area contact me.

The students have been working hard on their creative projects as well as learning new hands. I have been bowled over by their enthusiasm and commitment to the end of year exhibition. Some work in progress has been posted for your enjoyment.

As David and I go away a great deal, I decided that I should create a few small pieces, so that I too will have something for guests to view. Years ago I was fortunate to be able to go to a CLAS workshop held in Winchester and joined a creative workshop presented by Brian Walter. He taught me the joy of working small and cut me a nib from a mapping pen which I still use today.

Here is a taste of what my 'homework' has been over the past few weeks.
The pieces are small and written on those scraps of {good}paper you have in a drawer or folder.

 You Can Tell...

 Everyday

Small Things

I also collect small pieces of decorative paper and never throw away ribbon or bits of gold. I usually write in gouache and in the simplest hand. It's the quote that is important. 

Poetry Pieces Update

It seems that giving instructions and notes about using larger sheets of paper allows students to have a heart-flutter or two. A3 paper is really only double A4 and gives marginally more space to work on. In fact, I often feel that working on A3 gives the artist space to breathe.

Today we stretched paper, created colour swatches and writing samples ready for the writing in the next few days. We used tracing paper to work out ideal placement, so hopefully all is ready to complete some great work.

We have three 'finished' pieces to enjoy. Two on canvas and one on water colour paper. Next time I will add  the the completed poems on good paper, hopefully completed and beautifully executed.

 Brenda's piece

 A-MM: Life is Beautiful on canvas - using acrylic, gouache and Chinese ink

A-MM: Live life Radiantly on canvas. Water colour, gouache, Chinese ink, walnut ink

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. 

Project Update

Although many 'girls' were absent today well done everyone for the great work you are doing. There is a marked improvement in writing skills and your 'layout' eyes are open and creating beautiful small word vignettes for the 'quote tins'.

I discovered the tins at Woolworths filled with soap. I thought they would make an ideal 'small quote container' and they smell good too.

 I had great fun completing my tin using coloured Canson paper and quotes found and stored for just such an occasion. I added ribbon and a small fountain pen for the recipients' own quotes and will have mine photocopied on board to fill tins with quotes for gifts.

Completed tin filled with quotations, extra paper and a small pen. I am thrilled with the results and wouldn't mind receiving one myself.

Homework:
I look forward to seeing students' completed work next week. That means concertina books as well.
Please practice writing and be prepared for another project next week.

On another tack altogether. I hardly ever (ever) have any open water or cups of tea or coffee around my work space be it computers or art work. I have been 'working hard' for the exhibition and had just cut completed pieces off the stretching board after discussing process with students.

I placed the pieces in front of me and was drinking a cup of coffee chatting to the group. I lifted the mug, only to have it slip and land neatly on my work. The result? Coffee everywhere. Of three pieces, two were salvaged. (Although one of my students gathered it out of the bin to use portion as a card - what next I wonder?).

Lesson learned? I do hope so. Luckily I'd stretched paper earlier so I took the opportunity to redo the one piece (which really does look better) and paint the other two with spilt coffee. Of course  there is not a cup or mug in sight and my painting water is in a container which is in a container. Talk about crying over spilt ink.

Was I furious and did I do a dance of absolute fury? No, what's the point? I simply removed the pieces, wiped the table and started my new projects. I truly think they look better than the originals and I will add images next week.

Quick Concertinas and Homework

Well, if you are a true bookmaker there is never anything like a 'quick' anything, but concertina books can be quickly made for a card or a gift. A more ambitious creation can be turned into a beautiful quote book with decorated letters which is what the Penfriends students have been working on for the past few months.

Of course, making a cover for the books can be tricky, unless (again not if you are a meticulous book-binder) you take it step by step and are not too worried about perfect touching corners. I feel that most times the good pages cover the imperfections and for our needs works well.

Here are a few pointers:

Choose paper that is not shiny and suitable for the quotations chosen taking into account the words and colours used. I find that scrapbooking paper is great. Cut two covers out of mount board or similar firm cardboard, about 1 centimeter larger than the actual book. Cut the cover paper about 2 cms larger than the board.

 Place the board with a 2 cms border of cover paper onto the decorative paper. Score against the edges of board with a bone folder or awl.

 Fold the corners at right angles to the board. Fold.

 Cut the corner a little away from the fold.

 Corner nearly perfect.

 To stick the book together we used double-sided tape. Place the cardboard over the stripped tape. Then use strips of double sided tape for the sides of the paper, folding the paper into the card. Use your bone folder to 'crisp up'.

Place concertina book on covers. Add ribbon between the back cover and book or add after the book is complete. The choice is yours.

And here is Jeannette with here nearly completed concertina book! Note ribbon under left hand. It is secured between the back page and book and will wind around the closed book to finish it off.

Homework for all:
Complete book covers for concertina books.
Bring heavy card for portfolios.

Tin Quotes
Prepare paper for small tin boxes. 7x11 cms size is ideal. Round the corners if you would like to.
Please remember you will need to make sure that nib sizes and quotes fit onto the page. Remember to leave a border around each written piece.
Be aware of ink/gouache colour.
If you draw lines on your paper take care to be light handed.

It is a good idea to do a few layouts [thumb nail sketches] so that you have an idea of how your writing progresses.

Suggested ideas for working the various quotes.
1] Take a quote and find a word to highlight. Use capital letters for this word.
2] Take a quote and use 'Boustrophedonic' style writing.
3] Brush lettering for one or two words.
4] Stacked Roman Capitals [pencils?].
5[ Italic Flourish.
6] Foundational.
7] Compressed.
8] Your own choice.
9] Don't forget a cover.

Please remember Wednesday 10 July: Calligraphy on Canvas
All day workshop: 9h30 - 16h00
R200 which includes tuition and refreshments.
Booking essential.

Until further notice Tuesday morning group will amalgamate with the Thursday morning group.
9h30 - 12h00.

Happy working and remember this quote from Salvador Dali: 'Have no fear of perfection, you'll never reach it', so we are all off the hook!

Browsing through Shops & Tuesdays & Thursdays - Homework

I suppose like most of you I enjoy browsing art shops, book shops, paper...Well I just love browsing and seeing what new materials, paper and inks have been introduced. 

In Johannesburg I have a wonderful contacts at Herbert Evans Art Stores in both Rosebank and Fourways. The staff are extremely helpful and keen to search for new calligraphy inks and nibs. So let's be positive and perhaps we will be surprised by the next shipment. Canson, gros grain ribbon and board can be found along the newly set out shelves. If all else fails please speak to Steven or Juanli in Rosebank or Dee at Fourways.

For special papers I find that Paper Cafe in Glenhove Road has some interesting papers and ribbon. Claudia of Scrapalicious in Waverley has lovely scrapbooking paper as does Karin of Kartworks. Please mail me should you wish to make contact. dmoore@iafrica.com

The class work and your dedication is really great, thank you for your enthusiasm.

Tuesday and Thursday homework: 

Concertina Books: Please complete as much as you can. Cut covers out of board, 1cm larger all round, than the book size. Please find some suitable paper to cover the board. Paper should be firm and compliment the interior of the book. Grosgrain ribbon to match. [About 2 metres].

Portfolio preparation: Please buy an A2 heavy card for your portfolio cover. Try to find a suitable colour in Canson. Grosgrain ribbon to match. [About 2 metres].

Board for Block pieces. Please buy black backing board/mount board as a background for your abstract block project and heavy duty double-sided tape. 

Tin Book Project: Use Canson paper which matches the colours of the tin. I find that 7cmx11cm size pieces work well. Round the corners for a more professional finish. Ten pieces are required. Please prepare more pages should you wish to. Collect quotes for the paper. 

Lettering: Please continue to practice the lettering you are learning.

Enjoy the week.

Anne-Marie

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