Top Brass

Finished size approx. 12" X 16"
The GRAMMY-nominated Bay Brass (has a nice ring to it, does it not?) had organized a concert to honor the recently-retired repairman who has kept their horns--and those of most brass players in the area--in working condition for many years, and to benefit a music camp scholarship fund in his name.  Last-minute scroll request + free design reign + school vacation week = BLISS!  On break from my day job (only job, actually...), I barely left the studio for ten days;  my sweet husband kept me supplied with liquid and solid refreshment while I put to use some of the techniques I have learned in classes these last several years!

As I've said before, Pergamanata paper is a dream for corrections and that's my kinda paper!  I did have a little trouble with the brushed Finetec metallics buckling and flaking off the page, but after a brief consultation with the inimitable Heather Held (thanks, Heather!) I played around with the thickness and that seemed to do the trick.  Next time I would probably pre-treat with gum sandarac, another of her great suggestions.

My initial sketch (full-size):



As usual--and especially since this was a hurry-up job--I planned for it to fit in a standard-sized frame (in this case 16" X 20") from our local craft store.  With my trusty compact mat cutter I double matted it in blue and gold, 2" and 2-1/2" respectively.



Tools and supplies:  Moon Palace sumi; 23k gold leaf; Instacoll; gouache; Finetec gold and silver; Derwent graphite 3B; Zebra G pointed nib; Brause 1mm, 1.5mm and 3 mm;  Micron pigma 005; Uniball signo .18; Copic multiliner .03; Neopiko Line 2 005;  Pergamanata heavyweight paper.  And last but certainly not least:  X-acto knife with #4 stencil blade and Faber-Castell Perfection 7058B eraser!

Border Trouble

I recently learned the expression "border trouble", in this case referring not to immigration---nor to illuminated borders, like the one above---but rather to the sometimes-daunting obstacle between the idea for a piece and the point at which it begins to take shape.  Since I sometimes struggle mightily to move through that region, it helps me to think of it as just a transition, kind of a bothersome ordeal one has to go through to move into the pleasure on working on the piece once it starts to come to life, not to mention once it is finished.

It's school fundraiser season once again and I created this piece to raise some money for a good cause.  Artwork doesn't always do well in a silent auction but this was displayed nicely and went for a pretty penny!  The border outline came from the fabulous collection of the Graphics Fairy (you really need to go to that site, and bookmark it!);  I was able to take a little shortcut and print it onto tracing paper (rather than actually tracing it) and then transferred it to Arches 140 lb hot press with Armenian bole.

Because of the nature of the quote, I used more colors than I usually would have in the border.  The ink is Pelikan (with some powdered gum arabic added);  the rest of the design is gouache, pen, and 23K gold leaf.  I used a [left-handed] Brause 1.5mm nib;  the image is about 7.5" X 10.5".  I used my Logan Compact Mat Cutter (which has come in handy more times than I can count) to cut the mat, then popped it into a frame I picked up at Michael's half-price.  Ta-dah!

More Calligraphed Confections: Marian's Cake


Wendy and I so much enjoyed making the "K" mandala cake that we decided to do it again, this time for my friend Marian,  a self-professed diva who is turning 75.  My idea was to work a stylized treble clef into the design because she is, after all, a soprano--but treble clefs are so, I don't know, ordinary.  There was a lot of trial and error involved, so I worked in pencil on this one.


This time I cheated a little bit and when I finally got the motif right I just made seven copies and pasted it up.  I added the leaves freehand for some finer contrast.  The dots were punched from black paper and glued, making much better circles than I could have done by hand.  Again I taped the design to the table, placed a piece of glass over it and then the stencil blank over that.  With my handy "burner" tool I cut the stencil in no time at all.  Then I headed over to Wendy's to test it with "old gold" lustre dust on parchment paper.


Wendy decided we should do the sides of the cake as well (a 14" creation!) and sent me home to make that stencil.  Again, I copied, cut and pasted using elements of the round top design.


By the time I got back to her house, she had applied the gold to the top of the cake, a perfect disk of white chocolate.



Just imagine:  layers of almond-flavored cake alternating with layers of raspberry mousse and lemon cloud illusion (lemon cream made with lemon curd).  To die for!  We stenciled the sides on two slabs of homemade marzipan (Wendy skinned the almonds herself!).  It was a more subtle look than on the white chocolate, probably because of the moisture element.



Here's the first half applied:


And here's the master pastry chef herself:


Back into my studio I set to work making a matching card for Marian with my trusty Zebra G nib in Aztec Gold Finetec on Opal Stardust cardstock and envelope.



By the time I picked up the cake the next day for the party, Wendy had worked her magic with piping, fresh raspberries and marzipan leaves.


At the party, the beautiful birthday diva serenaded us with her amazing voice (and we serenaded her back with "Happy Birthday")...


...candles were added for "past, present and future"...


...and then it was time for cake!


Wendy and I are having so much fun with this collaboration!  Stay tuned for the letter "T"!

Christmas Comes Early


I don't know about you, but for me the word "clipart" has the connotation of fairly simple, cartoonish images that really are not of much use in the calligraphic world.  But today I am positively swooning over the discovery of University of South Florida's Center for Instructional Technology's Clipart ETC collection! 

At first glance their logo, an ampersand superimposed over a map of Florida, is a good sign--but does not even compare with the riches to come.  There are 60,000 pieces of free, mostly antique black-and-white clipart, and more are being added every week.  Categories include Decorative Letters (just begging to be illuminated!),  Complete Alphabets, Art (including Celtic and other ornaments), Borders (corner, edge, and full page) plus vines, doodads and tailpieces.   Each is offered in three JPEG or GIF sizes and a downloadable 240 dpi TIFF for printing. The database is easily searchable and will yield many treasures!


And best of all, you can use up to fifty of them in a single project without special permission if it is non-commercial or educational (and "not obscene or scandalous"---so tone it down, you wild and crazy scribes). It's a goldmine!

All clipart courtesy FCIT