Beginning Copperplate Class starts October 10!

Me with my piece exhibited at Kalligraphia in the SF Public Library

Whew! It's been a whirlwind few months, and I'll be posting a little retrospective soon, but wanted to give a shout out to anyone in the Bay Area who is interested in learning Copperplate (pointed pen) calligraphy! I'll be teaching a series of four classes in Marin, currently scheduled for October 10, October 17, October 31 and November 14 from 12:30 to 2:30 each day. For info and registration, go to http://www.meetup.com/Mill-Valley-Calligraphy-Meetup/. Hope to see you there!

The (Second Half of the) Year in Pictures


Some of my designs for Ultimat Vodka Holiday Campaign
One of five San Francisco venues for Ultimat events in November/December
Very special commission
Commission: walnut ink, watercolor and Finetec gold
Zig Posterman pen on chalkboard fabric
Chalk on display board

Tooled gold leaf
JJ Monogram, pen and ink
JLM monogram, pen and ink
CMS monogram, pencil sketch
Gouache, gold leaf, ink on hotpress watercolor
Piece done in Risa Gettler's Visigothic Versals class; ink,
watercolor pencil,  Finetec gold


Belated Bunnies


Easter was weeks ago but I'm just getting around to sorting out photos. My dear friend Kathleen sets a beautiful table for every holiday, and since I'm not much of a cook, my contribution is always place cards. I fell in love with these and the tutorial, with template, here.


I used carnations for the tails (so sweet smelling!) but roses would be cute too.


The stem on the back side holds the bunny upright. They were a big hit!



Summer Fun in the Family Room

"The Perfect is the enemy of the Good."  ~Voltaire
Much to the amusement of friends and family, I've been at it again, scribbling on the walls!  This quote had been rattling around in my brain for a while, and seemed a propos after coming away somewhat intimidated by the hundreds of more-accomplished calligraphers at Calligraphy Northwest last month.  Not that those inspirational folks are the enemy, mind you--I am perfectly capable of taking on that role for myself--but for me, it's an important reminder that just plain "good" is something to feel, well, good about.

I thought I'd share a bit of process this time.  I started with a little doodle on a graph-paper sticky note;  as usual, television = design challenge.


Although the finished project is done with dime store chalk, for some reason it was hard for me to get started with such a blunt tip.  Enter two handy tools, both marketed primarily to quilters:


The Fons & Porter is ultra-fine chalk--about the size of pencil lead--and happens to be sold by Paper & Ink Arts for lining dark envelopes.  The bolder "pen" is made by Dritz and I picked it up at Joann Fabrics.  It comes with a little box of white and colored "leads"! Joy!

I started out sketching with the Fons & Porter...


Then defined lines a little more with the chalk pen:


Gradually I filled in and tweaked:




As you can see, there's still some clean-up to do, but I kind of like the chalkiness of it all.  By the way, this wall is painted with plain old latex (hadn't actually planned to be writing on it back then), which is getting a bit trashed by all this foolery.  My "buddy" Martha has a recipe for homemade chalkboard paint, and some great ideas for using it, here.  Check it out!

Engrossed in Graduation

Once again I was delighted to be asked to design a diploma for the graduating class of the school my kids attended oh-so-long-ago, and to work with the parents on the illumination while the eighth graders were off on their class trip.  The Engrossing Saga I attended last fall was still very much with me, and I went for a kind of turn-of-the-twentieth century look with a twist: part color, part black-and-white.  

The idea is to keep it simple enough that the group can complete the painting in a three-to-four-hour crash course in engrossing.  The design was hand-drawn (Sickels alphabet), calligraphed (Johnstonian Italic), scanned and cleaned up in Photoshop (both twenty-first century luxuries), and inkjet-printed on New Diploma Parchment, whose praises I must join the chorus and sing!  I inscribed the names in Copperplate with Moon Palace Sumi, chose a gouache palette and mixed the colors.  For the gold we used Spectralite, which held up nicely to burnishing and tooling.  Outlining was done with a fine black Pitt pen, and leaf vein dots with a gold gel pen.




We settled into the classroom for a Sunday afternoon and several hours later...


...nineteen diplomas, ready for signatures!



It always amazes me to think that one could actually make a living as an engrosser back in the day!  If only I'd been born in the 1800s--and male, of course--this would have been the profession I aspired to.  Sigh.

Grace Under Pressure

"Grace", original size approximately  8" X 18"
What is it about a looming deadline that brings clarity to our thinking?  This is a piece I had been mulling over for at least a year, occasionally pulling out the quotation and fooling around with it.  Then Linnea Lundquist & Ward Dunham announced they would be closing their wonderful studio, Atelier Gargoyle, on December 4th with an all-day party and show of their students' work.  This was the incentive I needed, and I knew it had to get done and delivered this week since I would be out of town most of the two weeks before the celebration.


It truly has been a gift to have access to Ward & Linnea's wisdom and expertise these last four-and-a-half years at their monthly Saturday "Black Sabbath" classes in San Francisco where we explored Textura, Batarde, Uncial, Johnstonian Italic (aka Pointed Gothic)--in short, all things Blackletter.  Very early on, after Ward made some jokingly snide remarks about Pointed Pen People, I sent them a New Years card I had designed in Spencerian, knowing that I was "outing" myself as a PPP.  They both responded with one of their famous postcards, enthusiastically encouraging me to work with the two styles "for ultimate contrast", and encouraging me to "look to your Bickham".  "Be the one," wrote Linnea, "to combine the two with panache."  I've never forgotten that, and have always been grateful.


At every Black Sabbath class we painstakingly ground our black Chinese stick ink, and occasionally used Chinese vermillion for electric red accents.  With this piece I wanted to stay faithful to that.  I had originally planned to illuminate the "G" but in looking at my roughs, Linnea encouraged me to keep it simpler.  The diamonds on the G and B are gilded.

When Sheila Waters was in town earlier in the year, she had shown us her latest work on Pergamanata paper, singing its praises and vellum-like qualities, in particular the easy correctability.  I decided then and there it must be the paper for me, and although it took some getting used to, I am now a devoted fan.  It is not at all as mottled looking as in the scan above, and it seemed able to take endless scraping and erasures without complaint.


As I said, there was a deadline involved and with understanding friends and a supportive spouse, I holed up in the studio for days, finally coming through with a piece I could live with, then cutting mats for it and popping it into a frame for the show.  I'm looking forward to seeing my classmates' work and getting together one last time;  we've all come a long way in 4+ years and there is some amazing and varied talent in the group.  It's been a great run and I'm very sad it's over.

Which Way is Up?



This is a piece I did a while back that continues to puzzle me.  I originally designed it and hung it this way:



...which makes it easier to read.  In fact, another version of it was published in Somerset Studio magazine in the Fall of '05 and they oriented it this way as well.

But then...I lent it to a show for charity, and when I walked in it had been hung this way:



...which I kind of liked.  No so readable, but the texture is nice and maybe more interesting.

What do you think???



(The full text, by Oliver Wendell Holmes:  There are no less than fifty-eight different pieces in a violin.  These pieces are strangers to each other, and it takes a century, more or less, to make them thoroughly acquainted.  At last they learn to vibrate in harmony, and the instrument becomes an organic whole as if it were a great seed-capsule which had grown from a garden bed in Cremona, or elsewhere.)

New Year Anytime


I sometimes wish friends a happy "personal new year" when they are celebrating their birthdays.  But I got to thinking, why stop there? When things haven't been going well, can't we just hit the figurative reset button anytime, return to "Go", tabula rasa?  This was my first in a series of New Year's cards, but now that I look at it, the "Twelve Months that have recently pass'd" could be anytime.  "Still, fill to the Future!...Shout in hopes of a kindlier dozen."

Full text of the poem:

And ye, who have met with Adversity's blast
and been bow'd to the earth with its fury;
To whom the Twelve Months that have recently pass'd
were as harsh as a prejudiced jury---
Still, fill to the Future!  And join in our chime,
the regrets of remembrance to cozen.
And having obtained a New Trial of Time
Shout in hopes of a kindlier dozen.


Thomas Hood (1799-1845)

Flock o' Placecards


I seem to be on a roll here with placecards, party favors and the like.  But they're fun, easy and usually a lot of bang for the buck.  Borrowing (okay, stealing!) an idea from Martha Stewart's "Messenger Birds" and using images from 19th century Arm & Hammer bird trading cards, mostly found on the wonderful Graphics Fairy blog, I put together these placecards/thank you notes for a luncheon at work. 







According to the Arm & Hammer website:  "This early promotion was a hit and lasted, in various forms, for five decades. The first ARM & HAMMER® cards, 2X3 inches in size, were entitled "Beautiful Birds of America". These cards showcased talented artists and they promoted the importance of preserving our environment."



The ink is McCaffery's ivory.  Word to the wise:  the ink was still tacky and the cards stuck together when stacked, even after drying for twelve hours!  Luckily, no harm done.










What fun it must have been to find one of these in your box of baking soda!

Copperplate Goes to Washington


My storyteller friend Anita had a dream: to tell an African folk tale at the Presidential Inauguration in January of 2009. She had been a passionate campaigner for him, and she wanted to do everything she could to get Obama's attention to her proposal. So she asked me to address an envelope to him and do some offhand flourishing on the folder that contained a copy of the story.


I believe the envelope was actually a "Presidential blue" color, not black as it appears here. The script is Copperplate, or Engrossers' Script; the inks are Dr. Ph. Martin's Bleedproof White and Spectralite gold.


I did three different outer envelope styles and let her choose. This is the one that went to Washington...


...but alas, no response! But as Anita's grandma told her, "The only failure is not trying!"

Mission (Statement) Accomplished


The mission statement at my kids' alma mater, Marin Academy, is oft-quoted and central to the life of the school, so it seemed like a good idea to render it calligraphically for an auction item at their fundraiser a few years back. It's a potpourri of Uncial, Italic, Copperplate, my own scribbly handwriting, and some bits of stamped color and gold ink. The large Italic was done using my rinse water as ink. By cutting the mats myself I was able to make it fit into a stock frame size, which saved custom framing costs.

I don't remember exactly how much the piece went for, but it was a respectable sum. I was later asked to make a similar piece as a tribute to the Head of School's tenth anniversary (two different mattings here, not sure which one we settled on)...


...and another to honor a founding Trustee.


Grandes Dames de la Musique



Quotations from these two remarkable women, both female orchestra conductor pioneers in the 1930s, inspired pieces that celebrate their talent and wit. The photocopied images were transferred with xylene (though nowadays I would use Citra-Solv, which is less toxic and smells way better--see their artists' site with all kinds of amazing ideas here), and the calligraphy was done in walnut ink. The hands are copperplate and Roman miniscule. Both were done with pointed pen, and the originals are about 12" x 18".

Not Their Cup of Tea



Every so often I am asked by a graphic designer to create some calligraphy for a commercial or corporate project or product. The designers always love the hand-crafted look but the clients...not so much. It would seem we've grown so accustomed to the "perfection" of the digitally rendered letter that it is rare for the look of real pen and ink to be appreciated. Here is a label I did that was pitched by the designer to the client but didn't fly....sigh...although, to be fair, neither did this logo created by the firm.

Bickham on Bamboo?


Look what I found yesterday in Columbine, a little local gift shop! It's a bamboo floor mat about 2' x 3' in size, made for indoor use. There's another design you can see here. Presumably the artwork is taken from the cover of a handwriting text (unfortunately the binding partially obscures the last word, "youth"), could be Bickham Sr. or Jr., (or any number of other penmen) and features pointed pen, Roman, and blackletter styles blended artfully and flourished beautifully. Perfect for my studio!