L’Albatros

L’Albatros, which is by Baudelaire. The poem describes how the crew of a ship sometimes would catch albatrosses as they followed the ship. Bringing them on board they would laugh at how the once majestic creature would become comical and ugly in walking. Baudelaire then goes on to liken poets to these birds, a rider or storms, laughing at the arrows of archers, yet once grounded, his giant wings prevent him from walking. I wonder what he meant by that. Perhaps he was implying that a poet is one to wander in the skies, metaphorically, and what allows this flight — in the case of the bird, its wings, and in the case of the poet, the mind — is what hinders them from a normal life on the ground. Either way, as you know, the medium is the message, so let’s do away with all this talk of meaning and talk about the media. I did some calligraphy of a poem!

L'Albatros - Baudelaire - Italic - 30-04-2015

It’s often tempting to do all the fancy things before the boring things. It would be wonderful to use some coloured inks, or gold leaf to spruce up a piece of poetry like this, but the most essential thing in mastering something is to have a good understanding of the basics. That’s why I always make sure to make time for this kind of study. The ink is a neutral walnut, a rich brown that doesn’t catch the eye too much. The layout is simple and understated.

L'Albatros - Baudelaire - Italic - 30-04-2015 Detail

To master a hand is the work of hundreds of hours. There isn’t a short cut to creating the perfect letter form every time: it’s down to training the brain and the muscles to be able to execute it perfectly. One can have a great understanding of what the ideal forms should look like, but in calligraphy, there is both art and craft. The art is the forms, and the craft is being able to create them.

Speaking of understanding forms, lettering differs from calligraphy in the way that it is more forgiving on the execution side of things, but still requires a grasp of the underlying structure that makes letters what they are. Recently, I’ve been having some success promoting my work on Instagram, and so I made this piece to thank the (then) 500 people who follow my account. It’s a mixture of both lettering and calligraphy, using form of Italic calligraphy for the text at the top, under which the other words are lettered.

Many Thanks 500 Followers

Enjoying the effect created by a combination of ink and graphite, I decided to also explore a little way into the realms of 3D lettering. Here’s a little preview of what I’ve been experimenting with:

LETTER 3D

I’m planning on using this technique in some pieces in the future, so if you enjoy it, you may see some more coming up soon.

Strong Enough To Be Yourself (A study of flourishes)

Flourishing is something that didn’t make it into my repertoire for quite a while. When we start something, we are often ignorant of the depth of it. The way we appreciate something deepens through understanding, and so it’s not surprising that when we don’t have a good understanding it can be hard to appreciate something on more than a superficial level. In terms of lettering, most start out with the desire to understand and create letter forms. Of course, that must be what lettering is all about, mustn’t it? I mean, it’s in the word. Soon, however, you come to realise that the letter forms only work if they are structured well, and so you start to learn about hierarchy and composition. Similarly, flourishing is something that I have been concentrating on lately as an area of study which can improve the pieces I make.

Strong Enough To Be Yourself

If you look back at older pieces, such as The Greatest Victory, which was a piece that I made when I first started to consider the composition of a lettering more, you might notice that the flourishes seem uncomfortable and don’t really know what to do with themselves, almost like teenagers who have grown too fast and haven’t relearned how to use their limbs. They’re there because they are necessary, to an extent, but don’t quite serve the purpose they were created for. Since then, I’ve learned a lot through my study and have applied some of it in this piece.

The piece started just as a sketch of the word “strong”, as I had wanted to try out an certain 3D effect on some letters. I thought of the full phrase and planned out a little more of the structure. From there, I decided to do a little exploration of the space between the words, so, loosening up my arm, I started designing the flourishes using larger gestures controlled by the shoulder muscles rather than the fingers. This advice of using shoulder muscles, often given to those learning calligraphy, can seem daunting to beginners, but when designing flourishes, it really needn’t be. Any detail work or corrections can easily be made later, as graphite is far more forgiving than ink.

Strong Enough Flourish Sketch Progress

One of the most key elements in flourishing is to pay close attention to the negative space. It’s important that no one area becomes too dense, nor too sparse. A roughly equal distribution is attractive, though some variation is pleasing too. Once I was happy with the design, I took from the sketchbook to the paper for the final piece. When it comes to a symmetrical piece like this, it’s convenient to flip the reference material (in this case, the original sketch shown above) so that there aren’t too many irregularities when comparing the two sides.

Strong Enough Pencil Detail

From then on, it’s the same story of inking that you have heard before: a soothing, quiet time spent with paper and ink. Becoming too tense or hurried never helps, as a calm hand creates fewer mistakes. Here’s a little shot of it transitioning between graphite and ink, temporary and permanent:

Strong Enough Inking Progress

The Ligature Collective

A couple of weeks ago, I made a post about having recently joined Instagram, and a competition that was being held to draft a new member of something called the Ligature Collective. The competition was to make a piece to celebrate their success on Instagram, and the best submission would lead to the creator becoming a member of the team and have their work displayed to a large audience.

Well, I had sketched up a quick piece, which I posted a fortnight ago, but since then, I had much more time to dedicate to a better thought out piece.

Ligature Collective Ten Thousand Followers Blog Upload

My main goal with this piece was to create a visually interesting piece with lots of little details, but to have a very clear hierarchy, such that the piece was structurally simple. Seeing as the piece was going to be posted to Instagram, it had to work at a small size, and be easily identified. The words “Ligature” and “Followers” worked well as the emphasised words, seeing as they were not only easily legible on small Instagram thumbnails and conveyed the essence of the piece, but also tied the piece up at each end. The piece is symmetrical down through the middle (apart from the words themselves, of course,) and it also has a vague structural symmetry horizontally, too. The words “Ligature” and “Followers” are in the same style, and curve around the piece in the same way, while the smaller central words reflect each other’s style and layout too.

The piece ended up being quite small. I took several photographs of it just on the page on its own, but it always ended up seeming as though it was bigger than it really was. I decided to put some other items in the picture that I uploaded to give a sense of scale. The photograph seemed a little unbalanced with only the lettering piece and a single pen, however, so I scattered a few other objects around it to frame it. Some things, like the camera strap and the rotary lead pointer might not give a very good sense of the size of the piece, but the pens and lead holder should do. Incidentally, these were all things used to make the piece, aside from the keys, of course. But with the keys there, at least I get to show off my funky Rubik’s cube key ring.

After all is said and done (or just done, really; being a letterer is a pretty silent job) the results will be out tomorrow, on April the 7th. There were some truly excellent submissions among the hundreds submitted by other artists on Instagram, so I wouldn’t be at all surprised if they should win. Good luck to everyone else – I’m sure they’re waiting with bated breath for the announcement of the winner. If you’re curious to see the other submissions, click here, or search for “#Ligature10k” on Instagram!

Instagram & Gold

Recently, I got an Instagram account. Follow! In fact, it was over a year ago, but I’ve only recently started using it. There’s quite a nice little lettering community on Instagram, so I’ve been having a nice time looking at all the amazing work of other artists. There are also several popular accounts that curate the works of others who produce calligraphy and type-based work. One of them is a group called the Ligature Collective, who, to give you an idea of their popularity recently got 10,000 followers. To celebrate the fact, they decided to hold a competition to get a new member. The competition is to create an a piece of hand lettered work celebrating their 10K milestone and post it on Instagram.

The Ligature Collective Gold on Black

This is a little piece I sketched up when I had a some free time. I’ve been very busy lately, so I haven’t had much time to dedicate to the competition, but hopefully over the next week I will put in some quality design time and come up with something that would put me in the running.

This piece was quickly inked and then taken to the digital side of things. After last week’s foray into coloured work, I decided it would be nice to explore it a bit further. I love the look of gold print posters on a black background, so I decided to try to recreate the effect. I was given some gold leaf as a gift, which up until now has been set aside for a special piece at some point in the future. It served a purpose for this piece, however, even if it was only for digital manipulation: I took a photograph of one of the very delicate gold leaves to use for the colour on the inside of the letters.

Here’s the piece as it is on the page:

The Ligature Collective

And below, the gold leaf photograph that provides the colour:

Gold Leaf

In combination, they create a quite different feeling than either one alone. It’s also quite pleasing to know that the colour comes from something real. Last week’s piece was done purely through digital manipulation, whereas this time the source is a little more tangible, though only just! It would be easy to believe that this stuff doesn’t even exist. It’s like it’s only a single atom thick. I look forward to the day when I have a piece in mind that’s luxurious enough to warrant its use. Until then, however, I will have to satisfy myself with taking pictures of it.

Take Your Time…

Here’s a piece that started out being dumped into the Daily Doodles folder on my computer, or at least the parts of it did. A doodle of the words “Take Your Time” done in a flourished style with a slight slant to the composition. After a little while the phrase came back to me and brought a few friends, and together they formed some lyrics from long ago. Twenty-four years ago, in fact. In 1991 Nirvana released the song Come As You Are, containing the lyrics “Take your time / Hurry up / Choice is yours / Don’t be late.”

Take Your Time, Hurry Up, Choice Is Yours, Don't Be Late

All four pieces were done on separate pieces of paper, and aren’t inked – they’re just pencil sketches. I took a picture of each one and arranged them digitally. After a little experimentation with some colours, I settled on going for something with a warm feel. There’s definitely a clash between the visual style and the sound of the music that the words come from, but it’s differences like that that are often the most interesting.

Stylistically, the pieces are Copperplate calligraphy with a lot of flourishing. The flourishes help retain consistency through the four sections, but also serve to fill out the spaces that make the lines different. For instance, the first line, “Take Your Time” fills its own space very well, having three four-letter words. The other lines, however, all have one two-letter word, and the second line is only two words long. Though they do make the shapes less inconsistent, I didn’t want the flourishes to force the shape of each section to be identical, as it might look strange, and it would detract from the differences in shape due to the lines. These differences are what make lettering unique and beautiful, and they also add an interesting asymmetrical negative space between the blocks.

This is one of the few forays into coloured work that I’ve done to date, but enjoyed the process and the result, so hopefully there will be a few more splashes of colour coming in the future.