Monday, October 16, 2017

Parallel evolution

Song of Solomon: timeless love poetry in contemporary calligraphy. 
The series of Song of Songs is on view at First Church, Boston, until November 19, 2017.

Some designs keep evolving till they reach where they want to go; others, however, want to have a second, distinct identity that develops in a different direction.  The design here is from the same “GARDEN ENCLOSED” scripture shown in a different design at left, but the layout is different.   
I used rose stems to form the garden enclosure; this gave me the chance to use the many ascenders and descenders* to suggest leaves.  I took a chance that making the flower stems slightly crooked would not create an uneven tone of voice in the reader’s ear.  I filled the O spaces with orange to look like little fruits in the shrubbery.  

*A feature of lower case letters, ascenders go up: b, d, f, h, k, l, and half-way t. Descenders go down: g, j, p, q, y, sometimes f.  Sometimes you need to rearrange your layout to give these long lines room to grow; then you will find out what they want to be.  

Wednesday, October 11, 2017

Fixing the "oops"

Yesterday's post about proofreading raised the topic of how to handle the mistakes you find.  
Let's define "mistake" as pigment that doesn't belong where it is on the page.  There are several ways to handle a calligraphy mistake. 
First do no harm.  I can't emphasize this enough; don't make the situation worse by over-reacting.  Spend 10 minutes to assess the error, relax, remind yourself that everyone makes mistakes. 
Assess the limits of your materials: What kind of ink: is it made of pigment or dye?  What kind of paper: soft and spongey or coated to keep the ink from soaking into the fiber?     
Level of scrutiny vs magnitude of error: is this a small glitch or something fundamental to the whole piece?  how close will the reader be to the page?  Is this original art or is it for a print?    

Hold the paper against a mailing tube or... 
... roll the paper around itself. 

In my recent mistake--the extra comma after the word "glance"--several factors were working for me: the paper had a hard surface already, called hot press, plate finish; it was made harder by a thin coat of sizing; the ink had dried to a thick layer on top, scarcely soaking into the paper fibers; the comma was sitting in white space, all by itself.  These allowed me to put a fresh blade* in the X-acto knife, curve the paper over a cylinder, and shave the ink off.  
*either curved #10 or pointed #11

With the blade parallel to the paper, peel up the smallest possible surface layer, then trim it off at a right angle to the first motion.  


Saturday, October 7, 2017

Proofread it one more time!

Song of Solomon: timeless love poetry in contemporary calligraphy.  

Corrected. How? see the next post.  
One comma too many
If you learn just one thing today, learn to take off your calligrapher's hat and put on your proofreader's hat.  I was ready to frame and show this finished design when a typo* jumped out at me.  Can you find it?

That prompted me to go back and re-proof my other two-dozen finished pages.  

This is the most frequent question that people ask calligraphers; what do you do if you make a mistake?  We will look at one solution this week.   

*Technically, a calligrapher's mistake should be a "write-o." 

Wednesday, October 4, 2017

G is for gem. But which g? Which gem?

Song of Solomon: timeless love poetry in contemporary calligraphy.  

As soon as I saw the final lines, about being ravished with one glance, "with one gem from your necklace" I knew that the word "gem" was a gift. No calligrapher could resist enlarging that g and embedding a round gem in it.  Since the landscape was rendered in tints of gray-blue, I liked the contrast of sharp green;  this all added up to an emerald.*

*Everybody's an art critic.  My husband, an expert on minerals, looked at my design and protested, "But no gem cutter would ever give an emerald a round cut like that!"   
At right: Triangles and rhomboids in just four shades 
of paint can suggest an emerald: black, dark green, pale 
green, and white.  If you have trouble, use a photograph,
above, to make the facets hold still.  It's a good exercise  
in painting what you see, not what you think you see.  




Tuesday, October 3, 2017

Don't plant TOO many clues

Song of Solomon: timeless love poetry in contemporary calligraphy. 

A second draft of IV: 5 - 9 
This second draft of "One Gem," building on the landscape idea, got too complicated, since, in making it look more like the silhouette of a mountain range, I also made it harder to read.  The voice seemed to go up and down, and it wasn't always clear which line to read next.  (Whenever I see readers tilting their heads to read, I know I need to simplify my layout.)  

Other design aspects work better in this draft.  I tried out a blue ink;* it has to be dark enough to still have tone left when I dilute it for the small, faraway letters.  And I've started playing with the curled descender of the small g in "gem."  I think I can fill it with--what else!?--a gem.     

* FW Acrylic Indigo Blue.  


Saturday, September 30, 2017

See the Song of Songs exhibition in Boston this autumn

Song of Solomon: timeless love poetry in contemporary calligraphy. 

Margaret Shepherd's monumental project has rendered
this unique book of the Bible into modern calligraphy.  
Twenty-eight designs from The Song of Solomon are now on exhibition at First Church Boston, September  24 - November 19, 2017.  

You are invited to the Artist's opening 
October 13, 5:30 - 7:00.  
Future showings will add more verses 
until completion in 2020. 

Friday, September 29, 2017

Calligraphy maps a landscape, in half a dozen ways

Song of Solomon: timeless love poetry in contemporary calligraphy.

This scripture practically designed itself, and gave me a chance to use half a dozen techniques that all visual artists employ to add the third dimension to their two-dimensional work.   
I was enchanted by these verses, about a young man coaxing his lover to come down from the hills where she lives with lions and panthers.  I started by laying out the lines of text out like a mountain range.

IV: 8 - 9 Rough draft.  
An initial rough layout, pasted up quickly with lines of type, showed me that using progressively smaller letters could suggest mountains farther and farther away.  I filled in the O spaces with purple to see if they would look like gems in the landscape and found that not every bright idea works the way I'd like.  And the text explicitly refers to "one gem,"  Back to the drawing board.

I needed more ways to reinforce the illusion of depth, beyond simply making the letters smaller.  

Remind yourself to look hard at what you actually see
in a landscape, rather than what you think you see. 

Landscape painters learn that when things get farther away they become:
  • Less contrasty
  • Lighter in tone
  • Grayer all over
  • Cooler color 
Other ways to create the illusion of 3-D on a 2-D surface can include:
  • Overlapping of diagonals
  • Convergence of verticals 
  • Closer to the top (the horizon) 
And in some mountain landscapes, mist collects in the valleys.