April 8, 2017
Yikes, calligraphy. Here’s me about 10 years ago, (looking a lot younger than I do now 🙂 ), doing some heebie jeebie work for a friend of ours’ church. I’m including it and a certificate done for the same person to show basically what my commissioned work was for 40 years or more. Precise, traditional, nerve racking a lot of the time. If you make a mistake you can start all over.
It took years to free myself up from the calligraphic, graphic design, and typographic training I had, to begin to find my own voice. Evert van Dijk, a dear friend of ours and fine calligrapher/artist was instrumental in helping me to get away from obsessive perfectionism and to find my own writing styles and rhythms. Also, the work I did with master typographer and calligrapher Jovica Veljovic helped me to allow small imperfections to appear in the work. He taught me that, if executed with knowledge and experience of spacing, letter weight, etc, the overall impression would be of competence and the little glitches wouldn’t be noticeable.
Well, I’ve recently had a chance to do some lettering again. And Jovica’s tip really came in handy. Rende and I made some signs for our local edible garden. I wanted them to be nice, but since there is a fair chance of them getting stolen or damaged, I didn’t want to spend hours and hours on them. So without lines, no sketches, no preparation except 3 layers of varnish, I just took a loaded brush and lettered them freehand. You will see that they are not perfect by any means, but (especially because they are read vertically) they make a convincing impression of good lettering.
The signs are to label the beds for crop rotation, which happens over a period of 4 years. The idea is the first season, to plant the vegetables (like potatoes) which take the most nutrients out of the soil in one bed, and the next season to plant much less demanding plants in that bed, moving the potatoes to a new bed. The translation of the Dutch is:
Vaste planten= perennials
Aardappels= literally Earth apples or potatoes
Peulvruchten= legumes like peas, beans, snowpeas, sugar snaps
Koolgewassen= cabbage-like veg, broccolie, brussels sprouts etc
Bladgewassen= lettuces and other leafy greens including squashes
Wortel & knol= root veg, like carrots, onions, celeriac
And now for something entirely different. I was inspired by a friend’s book of poetry and photographs to pick up my pens and brushes again for some freehand calligraphic art. Here are some of the results. And here is Jörg’s website (German language).
The style used here is inspired by my piece, ‘Wage Peace’ which you can see and read about here.
March 10, 2015
From the wood I turned south and began walking out along the sea wall. Swallows scudded overhead in twos and threes, moving with fast wing flicks…Inland were vast fields, on which three or four black barns sailed like barges. To the seaward of the wall were the marshes, tinged purple.
-Robert MacFarlane, ‘The Wild Places’.
It has been awhile since I was this moved by a non-fiction writer. Moved in the way the best art moves us: to quote Lewis Hyde, from ‘The Gift’: A work of art that enters us to feed the soul lets us experience a gifted state, and depending on our own abilities, we respond by creating new work (it doesn’t have to be art, but inspired by the artist we may find we can suddenly make sense of our own experience). The greatest art offers us fresh images that light up our imaginations and open up alternatives for our own lives.
The last time this happened I was in the middle of my career as an artist and calligrapher, and for years, I calligraphed one quote of Barry Lopez’s continually. Here is a straightforward handling of this particular quote-
But I also used the text as a starting point for work dominated more by imagery than by letters.
And I also did a series of collages, I think from the same book by Lopez, ‘Crossing open ground’.
So anyway, what I’m getting at, is that for the first time in years, I feel inspired by MacFarlane’s writing and sensibility to start to combine letters with my imagery again.
Anyone who loves walking, nature, history of place, or
good great writing should read this author. He sets out on these walks which take him and the reader to surprising places, both literally and internally. He’s exploring the theme of how landscape acts on us and we on it, and how outer landscape is formative for one’s inner psychic landscape. His experience resonates in a deep place with me, though I’m not drawn to emulating some of his other adventures – sleeping out on mountains and moors, by the sea and in dunes- sometimes in the winter!
I’ll leave you with some more of his words- here he is speaking about how being connected through technology has replaced and so robbed us of direct physical contact with the natural world:
We have come increasingly to forget that our minds are shaped by the bodily experience of being in the world- its spaces, textures, sounds, smells and habits- as well as by genetic traits we inherit and ideologies we absorb. A constant and formidably defining exchange occurs between the physical forms of the world around us, and the cast of our inner world of imagination.
The feel of a hot dry wind on the face, the smell of distant rain carried as a scent stream in the air, the touch of a bird’s sharp foot on one’s outstretched palm: such encounters shape our beings and our imaginations in ways which are beyond analysis, but also beyond doubt.
There is something uncomplicatedly true in the sensation of laying hands upon sun warmed rock, or watching a dense mutating flock of birds , or seeing snow fall irrefutably upon one’s upturned palm.
May 10, 2014
I just want to mention that I have 2 other WordPress sites.
Tendingtime is my transition blog- the story of my personal reflections and experiences as I navigate a period between life phases, professional identities, and lifepurpose. At first I chose to locate it away from artcalling because it really wasn’t about profiling as a working professional, but rather a more vulnerable venue for musings when moving away from a particular professional identity.
I also still meet prospective customers who want to see what I do, and was not quite ready to publicly reveal my profound sense of alienation from previous design, illustration and calligraphy commissions and deadline work on this blog.
Anyway, I paint regularly, teach and write, and am involved in some activism locally, so it isn’t as if I no longer work.
Now I am more certain of the kind of work that beckons me, I am less concerned about coming across as less credible to the aforementioned type of customer. I sense that my future work will take the form of collaborations with other artists and creatives in a similar phase to my own, and that once and for all any kind of professional posturing won’t be demanded of me.
So maybe I will in time, move tendingtime over here. It is an increasingly important part of my life and reflects honestly where I am on the subject of alternative paths for the arts. This last subject is why I started artcalling 7 years ago.
My other wordpress site, Artwell, contradicts nearly everything I just wrote, and is a showcase for my work. As well as being a gallery for my current oil paintings, I see it as a document of past achievements which I am proud to share. There is calligraphy, harpsichord decoration, oil pastel drawings, etc.
I wish Tendingtime had more of a readership. Having been spoiled on this blog with over 200 followers last time I checked, I’d forgotten how long it takes to build up a readership without being on Facebook or Twitter. What excites me though, is that that blog is connecting me to others with a similar philosophy and experience. Those are such rich connections and I am grateful for them. Rather one of those than 100 of the ‘I follow you will you follow me?’ kind.
So please go over to Tendingtime if you are interested. I am also using that blog to document walking ‘The Pieterpad’, my 480 km journey (in phases) from the northern to the southern tips of Holland.
October 8, 2013
This painting was started in the spirit of a 37 minute one, with the intention of working into it.
I enjoyed using the same fast approach, avoiding too much polishing. The discipline here is to find the balance between getting it ‘Right’ and letting it be. When you are limited by a 37 minute deadline with no opportunity to go back and correct, there is a better chance of a raw but honest painting. The catch when I do allow myself to work into it, is to let things that are ‘wrong’ stand anyway in service to the whole. But there are degrees of ‘wrong’, so as usual, it is an ongoing discovery process.
This one was painted over a strongly textured painting I’d done years ago, I liked working on that rough surface and how it influences the overall texture.
I learned something important from working with Jovica Veljovic, type designer and calligrapher. He advised, when working on a piece of calligraphic text, to not try to make too perfect letters when you start the piece. That way, if anything went wrong later, it wouldn’t jump out so much. If there were irregularities in the strokes, let them be there. In that way, all the little natural flaws would add up to a consistent looking whole.
Trying to make too beautifully perfect letters usually results in dead work. But allowing imperfections makes personal, alive pieces. Eventually, I have found, all the small quirks in one’s own writing form a unique visual vocabulary and over time, infuse the work with one’s own signature.
It is the same with painting.
September 24, 2013
A note on the above text- in the Gronings dialect, goud also means ‘good’. So in the Dutch, the sun is setting, touching all on the land with a golden light and all is good/gold
Friends of mine celebrated the 15th anniversary of their stone cutting business. Bertus is a skilled letter carver and we’ve had some great collaborations over the years. To celebrate, there was a poetry contest organised, the poems were not allowed to be longer than 45 letters. The poem winning the first prize would be carved in stone and presented to the village where Bertus lives and works. And the other top 9 chosen would be typeset or calligraphed. I received the commission to letter 4 pieces.
The text, loosely translated from the Dutch is under each piece. I used collage, watercolour, and oil pastel/gouache.
It was a bit difficult getting into doing calligraphic work again. But once into it, it was fun. They were well received and one, possibly two have sold.
The poets are, from top to bottom: Maarten Bronts, Frits Visser, Sijmen Tol, and Mischa van Huijstee
November 26, 2011
I haven’t posted in awhile because of uncharacteristic busyness as well as being away for a week.
May 4, 2011
I’m thrilled that the shop is featured on the blog of a delightful little zine I ordered, called Spoonful, a happiness companion. Thanks Anthea! It is, as the title suggests, a bite sized helping of food for the soul. There are hearty little snippets of literature, art, and musings on happiness, enhancing the everyday, creativity and more.
I ordered it to include in my shop as part of the mission of bringing in inspiration from all over the world into this tiny little village where I live. There are just so many wonderful things happening on a grass roots level in the area of creativity and community building that people here would never get exposed to without a guide. So I guess that is what part of the function of this shop is. Anyway, Spoonful is reasonably priced and beautifully presented, with a nice layout and colour artwork. I’m enjoying, after having read my 3 issues, dipping in and following some of the links, to say, Denise Sharp a creator of whimsical works in paper and calligraphy. Have FUN!