Jack Standbridge

You

Oh look, it’s you. There you are, reading my blog post. This post is about you. Or at least, it’s about a piece that’s about you. Here it is!

I made this piece for you because I’ve been thinking about you a lot lately, and I wanted you to know just how much I appreciate you. Now, don’t get me wrong, this piece isn’t about just any old “you”. It could be mistaken for being about whoever reads it, but I just wanted to make sure that you know that it’s about you specifically, not all those other possible “you”s out there.

Well, I hope you appreciate all the time I took to make you this special and one of a kind bespoke gift! This is the first piece I’ve done on black paper. “But no!” I hear you cry. “I’ve seen other piece that are white on black on your portfolio page!” It’s true that there are such pieces, but they were, in fact, black on white that was then inverted digitally. This one, however, is true black paper! Hooray! And that gold you see? Well, that’s real gold! And when I say real gold, I do of course mean gold coloured paint.

I got this new paint a little while ago, and I’ve been excited to use it in a piece. Making this super special and unique gift for you was obviously the perfect choice! The body of the letters is done in straight up plain gold paint, whereas the drop shadow that runs around the letters and flourishes is a mixture of gold paint and Higgins Eternal black calligraphy ink. The whole piece was done with pointed pen calligraphy tools, namely an oblique pen holder and a dip nib. Here are a couple of different versions that I came up with before settling on the final design that you see above:

Here’s a black on white pen and ink version done with my usual Rotring Rapidographs. I was going to block the letters in simply with black ink, but just before doing so, I thought I would doodle in some little swirls to give them a bit of character, and I preferred the effect.

This is a previous incarnation of the final piece. I experimented with filling the letters with a delicate hatching, utilising the finest line that any of my tools are capable of: the upstroke from the pointed pen, the same stroke that forms the hairlines in Copperplate script. This was also before I added the darker drop shadow across the piece.

I also made a little collage of the various in-progress versions and different executions of this piece:

As you can see, it includes the versions already shown above, and also some progress shots. The image on the top right is the first incarnation – the original sketch before which there was only blank paper. Not much changed then, you may notice, between the first sketch and the final version in terms of composition and letter forms. Sometimes when approaching a piece, you only have an idea of what the words to say and the feeling you want the piece to have; other times you get a strong mental image of the specifics of a piece before you set pencil to paper, and this was one of those times where most of the planning of the piece was done mentally before anything ever got sketched. The only thing that I didn’t have planned out before starting work was the set of flourishes across the top. I had originally wanted to try to put something asymmetrical yet balanced along the top, but after a page full of sketches, it seemed that the best solution really was something symmetrical, or the contrast with the symmetry along the bottom of the piece was distracting.

That’s it, folks, signing off for another week. Come back next time! It’s only decent of you to do so, especially after I made you such a nice present. And you didn’t even get me anything! The nerve, eh?