Starting Calligraphy

Talking about learning handwriting has made me reflect on my background, learning and teaching. I thought I'd share this with you as well as run a short series on my ideal calligraphy syllabus, my love for Italic and expressive lettering.

When I began calligraphy as an adult, in 1983, the idea was to get as many styles under the belt as possible. Our teacher taught Foundational in 6 weeks and then in the next 6 weeks we learnt Uncials, Gothic, Compressed Gothic, Copperplate and Italic. Whew. Actually I was poorly for Copperplate so missed that. Despite the dubious syllabus, this teacher was a brilliant calligrapher herself.

Later as a calligraphy teacher in the 80's my course was similar (minus Copperplate) over a far longer period.You'll see how I have subtly changed this approach. I also feel quite embarrassed about the exemplars I produced during this time.

In the 90's, in my own work, I was looking Koch, Neugebauer, Burgert, Letter Arts Review (LAR), mark-making, pointed brush lettering and Arthur Baker's pen twists. I learnt craft-bookbinding. In South Afrcia we were isolated and largely self- taught but had annual workshops by the best teachers from the UK, USA and Europe, so there was a balance. I had courses with Ewan Clayton, Brody Neuenschwander and Dick Beasley.

Because of our isolation as calligraphers we got together and studied LAR and went over the courses we'd been to, sharing them. I learnt a computer graphic programme and was very influenced by a book by Martin Andersch, whose teaching is amazing and freeing.

When I came to the UK in 1998 I had to back-pedal a great deal to learn some basic and traditional skills. and did an intensive CLAS Italic course with Gaynor Goffe and Traditional skills and Gilding with Patricia Lovett. I did the Advanced Training Scheme through the SSI, became a CLAS fellow, CLAS tutor and Full member of Letter Exchange over the next 8 years.

I am now at a new turning point where I am being as open as possible to where my heart takes me in my creative ventures. This is partly why I am blogging - to help me find and voice my philosophy of calligraphy, art and creativity. Tomorrow - my ideal calligraphy syllabus begins...

but is it true?

I "chatted" to Tim Noad by e-mail. He was saying that these days even parts parts of the Peerage patents are printed on parchment, and they don't have anything like the quality of the handwritten illuminated texts.

he said: "As you know, 'parchment' is more often used for sheepskin which is indeed greasy and hard to write on and not used much these days. I am certain that the speech is printed, I can't imagine them paying someone to write it at short notice and it would be harder to read (I have to admit!)" 

I agree about how difficult it would be to read fluently considering the content.

Now calf vellum is wonderful to work on and when it has been properly prepared - called "raising the nap", it feels velvety like a fine suede or velvet. The colour is gloriously intense because of the light penetrating between the particles of paint on the velvety surface. Also, you can erase mistakes completely.

Here is my very first sample of a fine detail painting on prepared vellum - photographed from the same set of books that you saw on Friday. I hope the photograph does the colours justice. It is a copy of the tail of the Q from an illumination in the Winchester Bible.

While I was doing the traditional skills course through CLAS in 2001, we had to make egg tempera.

I am convinced that egg tempera is applauded because in earlier years the intensity was much better than gouache. However I think that colourmen have made huge strides with colours so I wonder if egg tempera is still brighter. And this is only comparing Schmincke - there are still other fabulous makes such as Linel.

I did this panel about 10 years ago to see how the colours aged (albeit in a book).The big plus with egg tempera is that the white highlights do not bleed. Also it feels amazing to make paint! If you visit Cornelissens in London you will see the large jars of coloured pigment powders. Alas, I only buy Armenium Bole to make transfer paper and to colour gesso.

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