Author Archives: Patricia
Calligraphy and Ashes
Occasionally, it is so pleasing to abandon guidelines, formal letter construction, working out differences in size and script for design, incorporating illustration with lettering, and simply take a pen ‘for a walk’. I do this now and again after I’ve had a period of formal writing, as in the last few months. I had a golden opportunity as I was given a copy of a poem about the Test Matches between England and the Australians. It wasn’t the best poetry I’ve ever seen, but it did encapsulate the spirit of winning and the rivalry between these two teams. I haven’t been able to find the name of the poet, so if anyone does know, please contact me and I can acknowledge them and ensure they are happy with me posting this.
I knew that I didn’t want the piece to be huge, and the poem had a number of lines, so I chose a size 5 nib. I prefer to write on good quality paper even for roughs, and I have a stack of old certificates I had printed for a defunct award so I am using up the backs of those, a lovely Saunders Waterford 350 gsm HP paper. With the typed poem in front of me, I then simply wrote in free Italic Capitals. Here and there words that had some meaning were written in San Vito/Renaissance Capitals for emphasis, such as the first word, ‘Honours’ in the third line, a ‘dot ball’ (apparently a ball that results in no runs, as it is recorded in the score book), and so on. It always takes some time for your hand to become comfortable with any script and to ease yourself in at the start of a writing session, and this happened on the top line here. You can see that I made a horizontal pen fine dash at the end of that line to remind me to allow a bit more space when writing it out properly. The sixth line seemed to be getting rather long, so I decided I was going to split it (scribe’s licence!), hence the crossing out of ‘atmosphere’. I wrote the last four lines in the same pen nib, but realised as I looked at it that it was too large and blocky, so then used a size 6 nib which gives a better contrast.
The next stage in the way I work is to cut up the lines into strips, as on the right, and I just placed them on another piece of paper. At this point, I can adjust the spacing, cut out any mistakes, stick in any re-written words or phrases etc. In pencil I wrote the number of each line in sequence so as not to get them confused, and also the size of nib I used. (5 on the top line, and 6 on the bottom section). It was beginning to come together. I also needed to turn the section in small writing at the bottom the right way up!
I didn’t want a centred piece as with that, often the eye is taken more with the shape of the outline of the lines of text than the words themselves. So I adjusted the lines here and there, and made sure as much as I could (and it’s not always easy with short lines!) that there weren’t any diagonals of three or more beginnings or ends of lines. If there are, the eye is often ‘led’ off the paper and not on to the next line. As well as this, of course, the lines had to have a spine, all the lines had to overlap in the centre – the piece falls apart with lines flying off the edges of the main text. To ensure that the piece was balanced, I used a plastic ruler placed vertically, stood back, closed one eye and slightly blurred the other to see if there was about the same amount of text on the left-hand side of the ruler as there was on the right. Lines were then adjusted accordingly.
I marked the position of the ruler and then drew a vertical line down through all the lines – this would be the centre as I had worked out. I also used two L-shaped pieces of card to create a central rectangle, and slid them one way and another to determine the margins of the piece, The lines were then gathered up in order and placed on the sliding rule on my drawing board, line 1 on the top.
I chose a piece of hand-made Khadi paper which I’d had for many years. It has a good, smooth HP surface with strands of green water algae which I thought would tie in well with the green of a cricket pitch. I mixed up some oxide of chromium Schmincke Calligraphy gouache – it is a wonderfully smooth paint to use with a pen, and one of my favourites. I drew a faint pencil central line on the Khadi paper and was almost ready to write. To avoid mistakes, which are so very easy in calligraphy, I attach each line just above where I’m to write. This helps with spacing, spelling, letter formation and so on. So, taking some of the stickiness off a couple of small pieces of magic tape to avoid lifting the soft paper surface, I lined up the vertical pencil line on the Khadi paper with that on the strip of paper and pressed the sticky tape down gently. I used the horizontal edge of the guard sheet on my board as a guideline as there were no ruled horizontal pencil lines, and started to write. The paper absorbed the ink well and I didn’t have to wait long for each line to dry, but I have, with some papers, had a hair dryer in my lap to dry the paint as I go. As each line is written, I checked it, and then dried the ink with the hairdryer!
Finally the piece was written, the lines reasonably straight within the ‘free’ feeling of the piece and the words of the poem, and I then needed to remove all traces of the vertical pencil line. I left the piece for half a day to ensure the paint was completely dry, and then, rather than just scrub at the vertical pencil line with an eraser, I very gently ‘rolled’ it on the pencil line, being very careful near the paint.
The piece of paper wasn’t hand-made exactly to the exact size and shape of the final piece, as on the right. The only ‘real’ deckle edge was on the left. So with clean water and a brush, I ran a line of water along the final dimensions of the piece, each edge at a time, allowed the water to soak in for a minute or two, and then gently pulled the two sides of the paper apart, which left a ragged edge of paper fibres. While it was damp, I pushed my thumb against the paper edge to make it ‘clump’ a bit, similar to the left-hand deckle edge. And then the piece was finished, ready to wrap in tissue paper and be given to the recipient.
National Schools’ Handwriting Competition 2015
In early June this year, there was an item in the news about crowd-funding to raise money to develop a font for computers. The font was based on the handwriting of Albert Einstein. The hard work had been done, but the designers wanted to add variations to letters so that it looks more like someone’s handwriting where letters do vary, such as different forms for the letters s and f.
This item was picked up in a number of news outlets and it did seem rather exciting for a scientist to be able write an academic paper about relativity, say, in a typeface that resembled Einstein’s own writing style.
It might not be that surprising to appreciate that, as Chief Judge of the National Schools’ Handwriting Competition, I found this both interesting and sad. How much better to use traditional styles of letter-forms for formal printed or digital work (Times Roman, Helvetica, Cambria, or my own favourite – Hermann Zapf’s Palatino) which have been developed so that they are easy to read and read quickly both on screen and in print, and then your own handwriting for anything that needs to be hand-written.
The advantages of handwriting are well rehearsed, but the fact that they increase business is perhaps not fully appreciated. A company producing development kits in the US started to hand-write personal messages on the backs of the envelopes before posting them. They timed the process and it took about 57 seconds to do this and a few simple drawings were added too. The effect on their business and the engagement of customers was huge. Photographs of the envelopes were tweeted, and customers talked about what they were using the product for – this in turn increased awareness of the product and sales. Handwriting proves its worth yet again! More details here.
Winner 6 years-old and under
Handwriting, since September 2014, is now in the National Curriculum, and children are being taught how to hold a pen or pencil, how to form letters and how to join letters; spacing between words is also included. Good teaching of handwriting, though, is apparent from the entries to the National Schools Handwriting Competition. Almost 7,500 entries were sent in and the first sift this year was done at Cambridge University Press, the new sponsors of the competition.
On the right is the winner of the six year-olds and under. The winner was six years-old.
Four year-olds and under
This year there were more entries for those aged four and under than previously, and teachers are to be commended for enabling young children to hold a pencil, concentrate, and form good letters for the length of time it takes to write out the poem. In each instance the pictures of the finalists show the winning entry on the top centre.
Five year-olds
The five year-olds entries were good too, some schools using parallel lines to ensure consistency of letter height. The winner’s entry showed very good letter-formation, and I liked the variety of forms of the letter ‘y’.
Six year-olds
By six years-old some children are joining their letters, as demonstrated by the winner in this age group. This was not the reason for winning, but here the clear letter-formation, rhythm and flow of the writing stood out.
Seven year-olds
By seven years old, many entries showed joined writing and writing in ink, and this was the case with the winner and some of the highly commended entries. The placing of the poem on the page of the winning entry was very pleasing.
Eight year-olds
By eight years old, the writing in all entries was joined up and showing the beginnings of personal style. I particularly liked the unusual placing of the lines of the entry that was third, shown on the left in the photograph, where the shape of the poem is rather like a ziggurat; I thought that rather clever.
Winner for seven and eight year-olds.
The winning entry for these two classes was very difficult to choose as there were many really good examples of handwriting. In the end the well-formed letters, good joins, clarity and consistency, and rhythm and flow of the handwriting all indicated that it was a worthy winner.
Nine year-olds
Individuality and personal style is well-shown in the handwriting for the entries at nine years-old. The winner shows a very mature writing style and a clarity that many of us would like to have in our own writing! It was difficult to choose winners and finalists in this age group, too.
Ten year-olds
The winner of the next age group, those who are ten years-old, shows very clearly that writing which slopes backwards is not anathema that it used to be. There is a real flow to this writing and it is extremely clear to read with well-formed letters.
Winner of the nine and ten year-olds
There was a slight backwards slant to the Overall Winner for these two age-groups as well, the Class C winner, but the letters are beautifully formed, the writing clear and it shows a good rhythm and flow.
Eleven year-olds
From age eleven onwards, children can choose their own poem, and it is sometimes difficult to concentrate on the writing rather than spending a lot of time reading personal choices of poetry or even poems written by the hand-writers themselves! The problem of personal choice, and in which it would be very helpful for teachers to advise, is that poems should be of a reasonable length to allow for the writer to get into a rhythm of writing, but not so long that the poem does not fit well on one side of A4 and may even have to go on to a second sheet. Occasionally, the prescribed poem choice in the previous Class is written out, and this is perfectly acceptable, as the case with the eleven years-old winner.
Twelve year-olds
The winner of the twelve years-old group coped well with a long poem, which fortunately had short lines. The writing is particularly clear although the writer may well need to join the letters to speed up.
Thirteen year-olds
There is more individual style in the writing in the age thirteen years group, as would be expected, although far fewer entries in this age group.
Winner for eleven, twelve and thirteen year-olds
The overall winner for CLAS D shows a great deal of individuality and character at age 12 and stood out as the winner for these age groups.
Staff winners
And entering for a handwriting competition as an adult – and all staff in a school can enter – not just the teachers, gives a very strong message to children that handwriting matters whatever age you are. As expected there were some very individual styles here and choosing between them was not an easy task, so congratulations are due to the winner and finalists.
So what can schools and teachers do to ensure that their pupils are in the finalists of the handwriting competition? Apart from teaching handwriting well, which goes without saying, encouragement is so very significant. It is also important to emphasise how important handwriting is throughout life, and so as teachers, entering the competition themselves, and including all those working in the school to do this – Teaching Assistants, Lunch Time Ancillaries, Kitchen Staff, Caretakers, volunteers who listen to children reading, even, as we had one year, the school’s Father Christmas, all will show that, no matter how good, or bad, their handwriting is, it is still important to hand-write as an adult.
All the physical aspects of handwriting should, of course, also be allowed for – height of table and chair being conducive to sitting for a period of time and not cause pain or discomfort, appropriately-sized pen or pencil – not too large or small – and with a triangular grip if that helps. Assistance with placing the poem on the page is also a good idea, not too far to the left and further down the page if the poem has few lines.
Before the writing starts, children should be reminded that, unlike the normal process in a classroom, their names do not go on the front of the sheet of paper, but on the back. And when the writing has been completed, the schools should ensure that the correct name – first name and surname – as well as the child’s age is written on the back of the paper. The school’s postcode is essential, and this year, a couple of children missed winning an age group because there was no postcode and no surname. Children are identified by postcode and first and surnames and with almost 7,500 entries it is impossible to go through all the lists of entries from schools to find a ‘Thea’ or ‘Joseph’ with nothing else to go on but the name of their school house.
It was a particularly successful year this year and with very worthy winners. Congratulations to all the successful children, the schools they go to and the hard work teachers have put in to ensure that success.
The St Cuthbert Gospel – new studies
I have already written about this gem of a book on my blog here, but this blogpost is about fresh studies on the manuscript in a new publication from the British Library edited by Claire Breay and Bernard Meehan – The St Cuthbert Gospel: Studies on the Insular Manuscript of the Gospel of St John. The new research marks the fact that the manuscript has been saved for the nation (it was on loan before). Claire and Bernard have managed to get the very best experts looking at various aspects of the Anglo-Saxon manuscript which was found in the coffin of St Cuthbert.
This new book starts with eight enlarged full-colour images of the manuscript. This means that those interested in the binding can really see the patterns which are both indented and also raised on the front cover, and even make out the remains of paint. And those interested in the lettering have an excellent opportunity to study the letter-forms closely.
The chapter on Materials, Text, Layout and Script by Richard Gameson of Durham is particularly fascinating. Richard notes that the arrangement of the vellum reflects that which was typical of Insular manuscripts, that is hair and flesh sides on opposite sides of an opening spread. On the Continent, hair faced hair side, and flesh faced flesh side, giving a much more even look to the pages when the book was opened. However, unlike many Insular manuscripts of the period, the skin is thin and smooth; usually the skin is thicker and more suede-like in finish. Richard also compares the Uncial style in manuscripts of the time, and includes a photograph of a page in the Codex Amiatinus (previous blogpost here) showing the usual Flat Pen Uncial used in this book with a column of the Angled Pen Uncial of the St Cuthbert Gospel. There is a series of my free Calligraphy Clips showing how to write Angled Pen Uncial here.
The skin has been identified as vellum. An analysis of the hair follicles shows a pattern of narrow rows of three, five or seven holes which indicates calf skin. This can be seen on the right.
Raman spectroscopy has been used to identify the pigments used in the book. Generally the red in the initial letters is red lead, or minium, which has deteriorated in some places to black, as can be seen on the right. Some letters, though, have been over-painted, and vermilion or cinnabar was often used for this.
The dark brown ink was identified as oak gall ink from the presence of iron salts.
The cover is particularly interesting, and is addressed in the chapter by Nicholas Pickwood. X-ays show that the wooden boards are particularly thin, rounded and chamfered, and the red covering leather particularly thick.This is the earliest European binding and has fascinated many for years. The red leather is, apparently, only surface coloured, yet it has maintained that vibrant pigment which, bearing in mind the age, is quite astonishing.The decoration of the front cover has also intrigued many – how was it done? X-rays again show that cords were used for the outer rectangles but a much more sophisticated and complicated method for the stylised vine central decoration. The book is not sewn together on cords but by a sort of chain stitch, very typical of Coptic binding. The whole covering and decoration of the book is very sophisticated and suggests the work of an experienced craftsperson.
Leslie Webster looks at the meaning of the decoration and the dating of the binding, and compares the intricate interlace, the stepped cross on the back cover, and the vine decoration on the front with manuscripts and artefacts of the period. Raman spectroscopy has also identified the pigments used to decorate the cover as indigo and orpiment. It seems somewhat over critical, but the original painting, when the colours were fresh, may have made the cover rather garish! The lack of symmetry in the upper horizontal interlace border, in a very symmetrical design, is intriguing.
This new research in this book, focusing on the St Cuthbert Gospel itself, also includes chapters considering the cult of St Cuthbert, the St Cuthbert relics, the history of the manuscript and Irish Insular Books.
This is a terrific and fascinating publication taking a new look at a very old book and one which must surely be high on the list of the treasures in the British Library. For anyone interested in manuscripts in general, this manuscript in particular, and the ways in which scientific methods can be applied to shed new light on old processes this is an absolute must. I highly recommend this book! To get your copy, click here.
Teach Yourself Calligraphy
Teach Yourself Calligraphy was described by one reviewer as doing ‘exactly what it says’. It is, of course, always best to learn calligraphy from a good tutor, but for many people this isn’t possible. This book, then, could be the next best thing! It consists of the main four alphabets – Uncial, and minuscules and majuscules (capital letters) of the Foundational Hand or English Caroline Minuscule, Gothic Black Letter, and Italic. It starts by considering tools and materials, what to look for, and how to look after them.
But it isn’t just writing individual calligraphic letters, it is also putting those letters into words and the words into phrases. So there are clear explanations of how to space letters in words, the best spacing between words, and then between lines to get the most pleasing effects.
And then, most people don’t want simply to write out words, but to use their calligraphy in different ways. So there are ideas, and clear and precise instructions, on how to make bookmarks, cute little boxes, bags for gifts, wraps, folds and envelopes.
Some people like to use their calligraphy to make books. So there are also instructions on how to create simple single section books of various types, with lots of different ideas. And for those who want to produce a hard-backed book with covered card covers, Teach Yourself Calligraphy shows you how to set out the book’s text (page design), how to sew the pages together, and how to put those pages into a hard cover with a spine.
There are also lots of ideas for using calligraphy for invitations, menus, wrapping paper and matching gift tags, mementoes and cards.
And for those who want to write out poetry and prose as broadsheets, there are clear guidelines on how to start with the text, the best layouts, how to transfer a rough to a best piece of paper, how to use colour (with a clear colour chart for reference), how to lay a wash, use pastels and gouache, and so much more.
With 124 pages and a pleasing square format, chapter headings are: tools and materials; writing calligraphic letters; greetings cards and bookmarks; wraps, folds and boxes; celebrations; writing little books; poetry and prose; and a glossary.
To get your own signed copy for £10 + p+p with your name written calligraphically, please contact me via my website.
Vellum and Parchment
Most people are not aware that there is a difference between vellum and parchment – both being animal skin (not pretend ‘parchment’ paper). The names of skins are often used interchangeably and it can be quite difficult when looking at mediæval manuscripts to determine whether the substrate is vellum or parchment. The clue is often the crispness of the letter-forms, but if a sharpened quill is not used in the first place, then this can be even more challenging! I prefer the terms that the makers of vellum and parchment use and so regard vellum as calfskin; it is a dream surface to work on when prepared properly. Parchment is sheepskin and, in many people’s opinion, is inferior to vellum for calligraphy. Goatskin can also be used but its surface is often very bumpy. The skins are a by-product of the meat industry, and as far more skins are produced than can be used by the leatherworkers, many skins end up in land fill.
To see more about vellum and parchment and the qualities of the skin, what to look for, types of skins and the best to use, see my Calligraphy Clip, vellum and parchment.
Skins for both parchment and vellum are selected carefully, washed and soaked in lime to slightly swell the hair follicles so that the hair can be removed more easily. The skins are washed again and then stretched out on a ‘frame’ or ‘herse’. Whilst on the frames they are kept under constant tension and scraped with a semi-circular razor-sharp knife. Lee Mapley of William Cowley Parchment Works, finalist in the Craft Skills Awards, is shown on the right; he produces skins of excellent quality. The skins are then allowed to dry and when ready, cut from the frames and rolled, stored and then sent out.
*******The Private Library, the journal of the Private Libraries Association, has produced a whole edition on vellum, featuring a fascinating, detailed article about many aspects of skin written by James Freemantle. It costs £6 for UK residents (£5 + appropriate p+p for non-UK) and is available from Jim Maslen at maslen@maslen.karoo.co.uk
Vellum skins are not the same thickness all over as is paper; this can be seen from the picture on the right. This was the skin that I produced for the British Library’s major Genius of Illumination exhibition. The haunches, spine and shoulders are thicker and the ribs thinner. Care must be taken when selecting the part of the skin to use as parts will move and buckle or cockle in heat or when damp.
*There are also different types of vellum skin. Calfskin manuscript vellum is prepared on both sides and so can be used in books or where you want to use the back of the skin. Classic vellum is bleached but prepared on only one side – useful if you want to create a broadsheet. Natural vellum is not bleached, shows the character of the skin, and again prepared on only one side. Kelmscott vellum has a surface coating which makes it ideal for printing; it was made originally for William Morris’s Kelmscott Press. It’s good for painting, but you need to use a dry-ish mix of gouache to avoid lifting the special finish. Slunk vellum is from the skins of stillborn or uterine calves and is quite thin but still strong. You can see the thinness in the picture as the handle of the paintbrush shows through much more in the skin on the far left.
The skin needs to be prepared before use for writing and painting, and this information is in my book Illumination – Gold and Colour – and the accompanying (and stand alone) DVD Illumination, which is over 3 hours long. Both include how to stretch vellum over board to avoid it buckling and cockling and how to gild and paint a mediæval miniature in the traditional way. There’s lots of information about tools and materials for Illumination, as well as projects which are very simple to make.
Vellum skin does, though, give the most wonderful surface for writing and painting, and if you’ve never tried it then you are missing a rare treat!
Calligraphy Clip – Vellum and Parchment
Eadui Basan – Edwin the Fat or Parchment?
Eadui Basan was a monk who worked from Canterbury in Kent during the earlier part of the eleventh century, and his distinctive hand has been identified in a number of manuscripts. One of the ones I particular like is that of the Eadui Psalter, on the right. The whole page is united by the arched and pillared frame, yet divided by two lower arches. The hand of God holding a scroll with text is giving a blessing at the top, and blue lines indicate the heavens. Within the right-hand lower arch the monks of the foundation are shown in outline. This wasn’t because the artist ran out of ink or time, but it was the stye to colour people in outline only as they weren’t worthy of full-colour painting. In the left-hand arch sits St Benedict, and around his halo is written in Latin ‘St Benedict Father of the Monastery’. The saint sits resplendent in full colour, his hands open in blessing, with lots of gold leaf. At his feet is a small, kneeling figure grasping the feet of St Benedict and holding a book, again in full colour. There is no halo or other indication of sainthood so we must presume that he isn’t; around his waist is a belt on which is written ‘zone of humility’, and yet he is in full colour! It has been presumed that this is in fact the scribe of the book – Eadui Basan.
Eadui also worked on the Harley Psalter, another fascinating book (though what mediæval manuscript isn’t?), and the Grimbald Gospels, on the right. This shows his wonderfully clear script, and stunning gilded initials. Many will be familiar with the rounded letter-forms of Caroline Minuscule, which have a low x-height – often of only 3 nib widths – long ascenders and descenders, and a distinctly forward slant. A little later in time and across the English Channel, scribes slightly extended the x-height to 4 nib widths, but reduced the ascenders and descenders; they also made it more upright. Examples of English Caroline Minuscule are in the British Library’s Ramsey Psalter (Harley 2904) written in the last quarter of the tenth century. Some decades later, Eadui Basan takes this hand and runs with it. He forms letters based on an oval letter o, rather than a round one, and extends the ascenders and descenders creating the most wonderfully fluid writing style.
Another impressive book is the Corpus Christi Pontifical, right. A pontifical is a book of instructions for a bishop or archbishop including details on how to consecrate a church, ordinate a bishop, and even how to conduct a coronation. It is just possible that this book was used by Stigand, the Archbishop of Canterbury to crown Harold Hardrada in 1066 and also Ealdred, Archbishop of York for William the Conqueror. The characteristic regular and rhythmic script contrasts with the coloured Versal initials. It is a most pleasing book and one of the gems at the Parker Library. It has been conserved and re-bound in recent years in the most vibrant red leather, how appropriate for a Pontifical!
In the Eadui Codex, now in Hanover, we even have his ‘signature’, which is the coloured paragraph in the middle of the page right (and enlarged below): Pro scriptore precem ne tempnas fundere pater. Librum istum monachus scripsit EADUUIUS cognomento BASAN. Sit illi longa salus. Vale seruus dei .N. & memor esto mei (which has been translated as: Father do not neglect to say a prayer for the scribe. The monk who wrote this book EADUUIS second-named BASAN. Let there be to him long health. Good Health to the servant of God .N. and be mindful of me).
So was he ‘fat ‘or was he ‘parchment’? I always understood that the Old English translation of ‘basan’ was ‘fat’ as in David Dumville’s English Caroline Script and Monastic History. Studies in Benedictism, AD 950–1030. However a paper by Tracey-Anne Cooper has looked at the ‘surname’ and does not refer to the Old English translation but suggests instead a Latin one. She thinks that it could refer to the substrate used by Eadui for his books, and that ‘basan’ or ‘bazan’ or ‘bazin’ means ‘sheep-skin tanned in oak- or larch-bark’. Without wishing to split hairs, I would think that, with the craft processes so much more a part of their daily lives than now, those naming Eadui would be fully aware that the skins for parchment or vellum aren’t tanned as are those for bookbinding, shoes, bags or clothes, but treated in a completely different way. Yet another example of mediæval manuscripts sometimes presenting more questions than they answer!
Mediæval Monsters
The British Library have done it again! This delightful little book on Medieval Monsters by Damien Kempf and Maria L Gilbert is the perfect introduction to all those fascinating creatures which delighted the mediæval mind as much as many of us today. Sometimes the monsters are familiar – the one on the right is the devil waiting for death when the soul leaves the body. In mediæval times this was believed to be through the mouth, hence the devil’s hands ready to make a timely catch!
And here the devil has been successful. The soul is often depicted as a newborn baby, so this poor chap, having left this mortal coil, is off to spend eternity in hellfire as the devil drags his soul there.
The devil was often at work in other ways too. Here is St John the Evangelist, with a couple of completed books behind him, writing the Book of Revelation on the island of Patmos – a place known for its dangerous criminals, scary bears and lions. None more so dangerous and scary than the devil who is here stealing the saint’s inkpot to prevent him writing the word of God.
But it is the invented animals and grotesques which are often so intriguing. What about Panotii (which means ‘all ears’ in Greek) who had such big ears that are so large they act as scarves or blankets? Others have slightly smaller ears, but pointed, wizened grey faces and hands that are claws, with bodies wrapped in a long cloak. Now some of you may have thought that the creatures in Star Wars were completely invented, but no, here is Yoda on the right, the legendary Jedi Master, instructor of Luke Skywalker (NB I am getting this info from the internet!).
And if you don’t believe me, there is the ‘real’ Yoda on the right.
What mediæval imagination would have thought of Blemmyae? They were harmless, without heads with their faces on their chests.
This little book covers a number of fantastical monsters as well as dragons, unicorns, mermaids, werewolves and very many more. Many of the images are full page which means that you really can see the details and the print quality and design make it a delightful book to read.
If you want to see more mediæval creatures, here’s the top ten monsters of the middle ages here
His Hands Magic – Michael Renton
Michael Renton was a jack-of-many-trades and a real master of all of them! He started as wood engraver, having left Harrow Art School to ‘do’ rather than study. His apprenticeship lasted five years, but rather than the pedestrian engraving of his training, he wanted to do things more imaginatively. His Sun and Moon design for a book jacket on the right are a good example of this. Throughout his life shied away from ‘Art’ (with a capital ‘A’); Michael wanted to make things for a living, not as a way of life.
Michael realised that he needed to improve his drawing and while at City and Guilds to do this he found the lettering classes by William Sharpington. Sharpington ran a signwriting workshop and, after delayed National Service, Michael set up on his own as an engraver and lettering craftsman, with signwriting in association with Sharpington.
But Michael longed for the country, and in 1963 settled first in Winchelsea, near Rye in Sussex, and then to a small outbuilding on a farm near Icklesham. He stayed here for 20 years and there are example of his work in the surroundings, such as that for the Martello Bookshop in Rye.
Michael also cut letters in stone receiving commissions from many eminent institutions and individuals, and he even carved his own gravestone, see right. The slightly curved edges of the MR rectangle are reflected in the curved lines of the lettering – making this so very individual and personal, yet classic at the same time.
When Michael moved to Winchester in 1994, it meant that it was easier for him to work on the lettering for the Cathedral. The clear signage in red and black letters painted on limed oak panels are distinctive. His painted Royal Arms above St Swithun’s gate and his cut lettering for the sign for the Visitors’ Centre are just two examples of his versatility.
The exhibition – His Hands Magic – at the Lettering Arts Centre at Snape Maltings from 3rd April to 28th June 2015 is a chance to see Michael’s work in detail. There are examples of his painting, letter cutting, wood engraving and drawings. There is also an excellent and detailed book about Michael, with essays by Harriet Frazer, John Nash, Simon Langsdale and others, and concludes with Michael’s writing about his experiences learning wood engraving. The book is lavishly illustrated with photographs of Michael and his wonderful work. It’s available from the Lettering Arts Centre and through the website here.