Everyone is someone else's weirdo

I did this piece about six years ago. I always hated it, from the moment it was done. It had no merit whatsoever. The only reason I kept it is because it was done on half-decent paper, and I thought I may do something on the back at some point. (If you look on the back of some of my 'best' pieces, you will probably find some of my earlier failures!) Riffling through my bits and pieces to see if there was anything worthwhile framing for a forthcoming exhibition, it re-surfaced. Couldn't leave it as it was (yes, it was THAT bad!) so decided to cut it into squares and rearranging it to see if anything was worth salvaging. I am much happier with the result now!

Ieuan Rees quote

This is a very important quotation by my all-time favourite calligrapher, Ieuan Rees. All calligraphy students should take note of what he says.

Honey still for tea

I took this very dodgy phone-photo whilst waiting for a bus following a class in Bournville. I was interested in exploring the possibilities of combining text with photos, and this was my first attempt. (The photo itself didn't have to be great - in fact, the more fuzzy it was the better, as far as I was concerned.) And yes, I do know that the poem has "ten TO three"! Must do some more experimenting...

Rainbow

I did this years ago, and it has recently re-surfaced. I have been looking at a marvellous Australian calligrapher's work - Graham MacArthur. He specialises in integrating lettering in his works. (Google maharg to see his stuff.) This lettering here is not "integrated" - its merely sitting on a painted background. See?

Calligraphic marks with gold leaf

Nothing much to say about this one. I like squares. Could have been a bit more accurate with my measurements.

I dipped an ink-loaded nib in a mug of water and this was the result. Can you see the cat's eyes looking up at me? Spooky!

My take on the iconic WW2 poster

The "Keep calm & carry on" poster was never actually used in WW2, but its so good it probably should have been.

And this is the reverse, using a pointed pen and gold gouache. Think I like this one best.

Slate

Some students are interested in lettering on slate. Here's one I made earlier, using a synthetic gold powder with a brush.

pointed gothicized italic

This is something I did years ago, but came across again when I was having a clearout. I know some students are interested in exploring this script, so thought I would post it (for them to see how NOT to do it!) The spacing is appalling, the text isn't centred carefully enough in the frame, the pen/paper/gouache were not working together as perfectly as I had hoped so fine hairlines are lost, margins are not wide enough, and therefore for all these reasons it is not a piece I would ever exhibit. I still quite like the overall layout though. Maybe I'll get around to doing it again some time, and then I will make the flourishes slightly longer, and leave a much wider margin. Don't hold your breath!