Author Archives: Patricia

The Glitterati of October 2021

This was the first time that I have held the 3-day course in October focusing on the tools, materials, skills and techniques of mediæval illuminators, and I think that those involved on the course will be keen to tell you why. We had challenges, but the results were impressive nevertheless, as can be seen.

I have always been incredibly fortunate by the way in which these different groups of people from all over the UK and indeed the world come together on these courses, and this was no exception, with a WhatsApp group formed and dinners together in the evenings.

But it was the challenges that we had on day two which had to be overcome. The weather on the first day was horrendous; it was torrential rain and we’d never experienced it quite as bad as it was. It was a lesson for me to learn because when we came to prepare the gesso for gilding on the second day it was still very plastic because of the 90% humidity.

The good news was that everything didn’t go to plan, which is often exactly what happens when you get home after courses like this and start to do it yourself. It meant that we had to think on our feet, go to Plan B and work out how to gild in time to get the painting done. In the end we all had to wing it, and although the gesso wasn’t always as smooth as we would have liked, the gold was still pretty shiny!

And here are some comments from the course – not necessarily written by the person who produced the miniature the comment is beside.

Loved it! Would cheerfully do another 3-5 day class and workshop. Such generosity of spirit! Thanks for all the kindness and patience. A delightful time of learning and experimentation. Thanks.

I would fully recommend this course, it has been amazing. It is incredibly good value for money too as the help and support have been brilliant and the supplies have been endless. I have been blown away by how hospitable you have been in taking us into your own space, cooking for us and entertaining our company. It has been wonderful!

Outstanding tuition – clear, concise, great encouragement and all the time felt what I was doing was possible in spite of my apprehension. A lovely course where I learned a huge amount. I feel it is something I could continue for myself. Very generous with items given to us.

Loved Patricia’s style – kind, endearing, engaging, enjoyed the simplicity and great structure to the days.

I have had the best time. Learned, developed, and surrounded with like minded people. It has been Awesome!

Thank you for everything. SO worth every penny. Tremendous privilege to be part of this small group. We all gelled.

Thank you Patricia for world class masterclass.

Incredibly valuable experience that I will truly cherish.

The talks were fascinating, a great addition to the practical parts of the course.

(Unfinished on the right.)

The Fully Qualified Glitterati

Another group of people eager to learn the traditional skills and techniques of mediæval illumination and miniature painting gathered in Kent, UK, in May 2021. This was a group who had planned to take this course in 2020 but the pandemic got in the way, so everyone, including me, was very excited to be able actually to take the course.

Everything is provided on the course, no-one needs to bring anything with them, and it takes quite a while to ensure that all the tools and materials are clean, pencils sharpened, erasers ready to use, and there are no scratches on the burnishers. Those who have been on my courses before will recognise the wet boxes and the dry boxes!

Each participant has their work station set up for them so that all they need is ready to hand; no-one has to share tools etc and wait for someone else to finish using them. There is also plenty of space so those working don’t feel cramped.

After practising applying gold and burnishing to already laid gesso, gesso is made for participants to take home to make more illuminated miniatures, and gesso made earlier is applied to their own choice of miniature. But first everyone cuts their own quill from a swan’s feather to apply the gesso.

Vellum is prepared and the outline traced and transferred to the skin. Gesso is then laid ready for gilding.

Applying real gold leaf changes the pink gesso into what looks like solid gold.

Everyone is delighted with the magical effect, even if some gesso is a little smoother than others. Turning it in the light really does look as if the miniature is illuminated.

After practising painting their miniature everyone sets to painting their ‘proper’ one.

A great deal of concentration is required for this, and while people are busy painting, I explain about the types of skin to use, and also show and talk about the traditional pigments.

Everyone was delighted with their results and said they learned a lot. I hope they continue to do more as they were a very impressive set of illuminations. And no, most people had never done this before, and many had very little painting experience either.

Genuine comments from the course include:

It was great, relaxed but very informative. Lovely day, uninterrupted painting. Perfect. I loved it.

Excellent instructions and I loved how passionate and knowledgeable you are about your subject. I learnt loads and my confidence built up over the duration of the course. I am looking forward to trying my new-found skills at home.

Very enjoyable, very well done. I was very happy with what I managed to achieve all thanks to Patricia.

Everything was very clear and thank you for your individual support on any questions or problems. A wonderful course. Thank you so much!

Really clear instructions, explanations, etc, and brilliant being able to ask as many questions as possible. Had an amazing time, thank you. Will be definitely going home and continuing my painting. I had lost my enjoyment of painting any illuminations as I had just become frustrated not knowing what to do and the techniques needed. Thanks.

Expert teaching of intricate techniques very well explained and demonstrated. The course is very well paced. Enough time to really focus on a good painting.

Brilliant, even for a beginner with no knowledge of the craft. Best course ever – would wish to do another. Experience shines through gently. 10 out of 10.

A model example of thorough preparation, micro and macro management of a complex subject. Delightful outcome of a memorable three days. Bravissimo!

(NB, the comments don’t necessarily match the person creating the miniature!)

****One person on the course had a Dystonic tremor which affects the whole body, and also has MS which affects other parts. Painting the practice piece was done in the afternoon and the hand wasn’t so steady, but painting the best piece started in the morning and they found that ‘with so much concentration, I was hardly shaking. It feels since the course that my self confidence has taken a huge boost as well’.

So don’t think this course isn’t for you if you have no experience. Illumination involves technique, and that is what is taught. And if you, too, have a tremor or a physical challenge, you may well surprise yourself and what you can do in three days!

‘Findings’ in the calligraphic work and teachings of Irene Wellington

Irene Wellington was an amazingly gifted and accomplished calligrapher whose lightness of touch and stunning and complex designs belie the hours of thought and care that went in to her work. This little book considers and explains more about Irene Wellington’s detailed approach to her work, the planning and thought for her work, and how she passed this on to her students.

After a short biography, Ewan Clayton MBE selects pieces of Irene’s work and draws out the thinking behind them, how Irene, as with her tutor and mentor Edward Johnston was concerned about the making rather than the practising, in that it is only by doing real pieces that the full range of challenges are met and can be resolved.

This piece was made by Irene as a gift for her second husband, Hubert Wellington, for his birthday; they were married the following year and their initials ‘I’ and ‘H’ are highlighted in red in the word ‘gladder’ near the bottom. Interestingly it is completely in pencils – no pen at all.

One of her main pieces was the impressive panel of the Bailiffs of Lydd. Ewan describes this piece as architectural, as if there are steps creating a platform with pillars and a pediment. There are 400 names with dates on this panel and it really is a tour-de-force. The second horizontal panel of lettering on a background of shell gold is just stunning.

The Coronation address is another complex piece with a number of quirks. The body of the address is in Uncials, which may be considered an unusual choice, but it works, and although the text is not justified, the right-hand margin is relatively even. The arms of London County Council are balanced by the detail of the Coronation Crown and below both are the oaths of dedication by The Queen herself.

Many people keep a record of a holiday or a diary, but few create an astounding artwork of the complexity and quality such as this (see also first image above used for the cover of the book). This is an account of a journey taken by Irene and her first husband Jack Sutton and written out by her in three weeks while her husband was away as a surprise. What a surprise it must have been and a wonderful gift to receive!

Calligraphy is so much more than ‘just’ writing out words and the thought and consideration that goes behind even seemingly simple and straightforward pieces is well illustrated in this book. Ewan always provides great food for thought in his talks, teaching and in his writing, and as a student of Irene Wellington Ann Hechle gives firsthand knowledge of Irene’s teaching and ways of thinking about letters and lettering. The appendix includes the tribute written by Ann Camp, another great calligraphy, after Irene’s death.

This book is highly recommended.

‘The Inscriptions of Ralph Beyer’ by John Neilson

Ralph Beyer really was a remarkable letterer and to a large extent one of a kind. The influence of his German parents just before the Second World War was considerable, and the rather peripatetic childhood that he had resulted in experiences that affected his later work.

This new book by John Neilson focuses on Ralph Beyer’s inscriptions, but it is so much more than just this. It would be impossible to write about this remarkable man without touching on his time with Eric Gill, the influence of Henry Moore, how David Kindersley helped and very much more.

Because war was imminent, Beyer was sent to the UK from Germany when he was 16 years of age leaving the rest of his family behind, and one of his uncles arranged for him to go to Pigotts to work in Eric Gill’s workshop. Beyer seemed to find the rather traditional atmosphere restricting, and the contradictions of no electricity but a phone, and doing everything by hand but using a car rather strange. He was asked to draw a Roman Capital alphabet with a pencil. Eric Gill then used a red fountain pen to improve the letters as shown here.

It was the inscriptions at Coventry Cathedral where Ralph Beyer showed his great prowess. The mediæval cathedral had been bombed and almost destroyed in the Second World War, and the architect Basil Spence was chosen to design a new, modern one. His aim was to have a up-to-date building but incorporate many craft skills in a more contemporary way, and certainly Beyer’s inscriptions fulfil that role. He took on other lettering in the Cathedral and also carved the shell shape into the boulder of rock from Bethlehem to make the font.

It would be expected that work would come flooding in after the publicity of his work in Coventry Cathedral, although not everyone was in favour of the differing shapes and sizes of the letter-forms, but this didn’t happen and for some time his income, and the support for his family, was rather precarious. Beyer did, though, cut the letters for the National Library of Scotland.

And for this he was helped by his assistant Peter Foster (shown on the right here). Sadly neither the lively coat of arms, nor the name are there now after a refurbishment programme.

Ralph Beyer cut letters in a rather unusual way. Rather than position the chisel with the corner in the central part of the letter, he placed it on the outer edge and cut from there.

His lettering, though, continues to inspire, and to help the reader focus on the text in a new way.

And one of my favourites, the lively lettering for the Thames Chamber Orchestra, shown particularly well against a red background.

This book by John Neilson captures the spirit of this great letterer, it explains Ralph Beyer’s background and influences and the way in which he made his work all his own. It is a terrific tour-de-force and gives inspiration to calligraphers, type designers, logo designers (use hand-drawn lettering!) and letter cutters. It is highly recommended.

‘It is not yet spring …’

Most calligraphers are always on the lookout for words and texts that appeal and can be written out and interpreted. I noted these wonderful words by Edward Thomas (who for a time lived near us) early in 2020 before the resulting pandemic became so restrictive. I wrote them out in the winter of 2020 when it really did seem that any spring really was being dreamed as being ‘more wonderful and more blessed than ever was spring’.

As always, the words were addressed first. I needed to work out the length of the line of text so that I could select a size of oval that fitted. A piece of vellum of suitable size was prepared and the oval shape drawn in as a guide for the lettering. I thought that this colour green for the text would work well with the theme.

Yet again, dear Edward Thomas did not consider us as calligraphers when he wrote. How wonderful it would have been if he had thought to include some words that had ascenders that could be flourished in the top left half and at the base.

And now to the flowers. I researched photographs of spring flowers; I would have preferred to have used actual examples but I was working on this at the wrong time of year. I made sketches of where various flowers could go – it seemed sensible to have taller flowers near the top and smaller flowers nearer the base, so bluebells were in the upper part and violets, crocuses and primroses towards the lower part.

I sketched out a possible layout in coloured pencils and checked it for size of the flowers and colour balance with the lettering.

This stage was partway through the painting. The leaves on bluebells are yet to be inserted and I didn’t like the straightish line on the top of the violets on the right hand side. The primroses also needed more definition, but it’s on its way.

And this is the finished piece. The bluebells don’t look quite so isolated now they have some leaves to accompany them. The single hellebore and primroses have more definition, there are now more hellebores lower right and left, with crocuses in a bed of grass in the base.

There is always a delicate balance between text and illustration and in this instance it can rightly be said that there isn’t that much of a balance here, let alone a delicate one! The density and colour of the flowers really do outweigh the lettering which dances around trying to hold its own but not succeeding very well! However, this was an effect of the pandemic and the thought that when spring comes it really will be ‘more wonderful and more blessed than ever was spring’.

‘The Book in the Cathedral: the Last Relic of Thomas Becket’

This year, 2020, marks the 850th anniversary of the martyrdom of Thomas Becket, Archbishop of Canterbury, on 29th December, 1170 and the 800th anniversary of his shrine built in the cathedral itself. A large exhibition bringing together manuscripts and artefacts related to the saint was planned at the British Museum, and this little book from the great Christopher de Hamel was due to be part of that. Due to Covid-19 restrictions the exhibition did not take place, but the publication of the book did, and despite its small size, it is a really wonderful book.

Any book by Christopher de Hamel is worth reading and this one is no exception. Initially Christopher considers the meaning of relics in mediæval life. This beautiful 12th-century casket, for example, with Limoges enamel decoration was made for the relics of Becket. This side shows the murder of the holy man (note the sword being drawn), his burial (above) and to the right above his soul being taken to heaven. This particular casket is in the V&A Museum in London and is the most elaborate and largest of the Becket Caskets in existence now, and is the earliest being dated to 1180–90, within just a decade or two of the martyrdom.

And whilst pieces of his body, hair, blood and clothing were considered to be worthwhile relics, why weren’t any of his books? Christopher focuses not just on the books owned, or thought to have been owned by Thomas Becket, as they would have given an insight to his thinking, but also concentrates on the psalter, Ms 411, now at the Parker Library, Corpus Christi College, Cambridge . Christopher was for many years the welcoming Fellow Librarian of this most amazing library, most of the books donated by Archbishop Matthew Parker who was the Archbishop of Canterbury during Elizabeth I’s reign. Ms 411 has an intriguing frontispiece – an elaborate interlace border, complicated in pattern and in colour, surrounds a rather wraith-like figure holding a book drawn in a brown-black ink and of a later date than the border. Who is he?

The psalter starts, obviously, with the letters of Psalm I, ‘Beatus Vir’ (Blessed is the man …) enlarged and in gold and colours. The text of the Psalms is then written in an engaging and regular Caroline Minuscule with letters very well formed making the text clear and easy to read.

On the following pages the verses start with a pale turquoise or dark brownish-red uncial initial letter followed by the same regular text script. It is possible that the pale green is malachite. This is pigment made from grinding down the semi-precious stone used in jewellery and for boxes and vases. Unground it is the most glorious emerald, but when ground it gradually loses its vibrant colour. If ground too much it forms a very pale insipid green, and so is used in a fairly granular state. Initially the adhesive is sufficient to keep the irregular grains of pigment on to the surface of the skin, but over time the granular nature of the colour gradually rubs off leaving only the paler powder remaining on the page. The red, too, is possibly vermilion, which over time has deteriorated and the surface has gone black or silver. Imagine this page with brilliant emerald green and startling red initial letters – it would have sung!

Christopher covers in this book the importance of martyrdom and the fact that killing the archbishop resulted in Canterbury being the most important place for pilgrimage for centuries with 100,000 pilgrims attending at important festivals. He also considers what books an archbishop would have in his collection at this time, or, perhaps more significantly, what books would Thomas Becket have needed bearing in mind he wasn’t even a priest when he was made archbishop. Becket’s exiles in France are investigated and the books that he acquired while he was there. It is interesting that, after his death, Becket’s books were just left on the open shelves of the slype, which exists even today and is used as a store.

So this particular manuscript – what is its connection with Thomas Becket? Did it have significance for him? Who owned it before him? And how does pigment from Egypt come into it? This blog is not a spoiler – you will need to read the book yourself and it really is well worth finding out the answers to those questions. The psalter could, just, have been such an amazingly significant little book.

‘The Ins and Outs of Public Lettering’

This delightful little book ‘The Ins and Outs of Public Lettering: Kindersley Inscriptions in the Open’ by Marcus Waithe, Lida Lopes Cardozo Kindersley and Thomas Sherwood does exactly what it says. Following their books on the workshop itself, letter cutting, sundials, apprentices, cut letters in gardens and much else, this book focuses on examples of lettering from the workshop which all can see.

Amazingly, the workshop is now in its ninth decade, with David Kindersley having started his training with Eric Gill in 1934, and, after setting up on his own in 1936 he settled in the Cambridge workshop in 1946. This is now run by his gifted letter-cutter widow Lida and there are still apprentices and journeymen learning the skills of letter-form and letter cutting in the workshop.

The workshop has many important and significant commissions under its belt, such as the lettering on the gates of the British Library as shown on the cover of the book, but it does not omit the more seemingly straightforward perhaps and more discrete examples of public lettering such as this memorial in a graveyard. It seems to simple yet note how the word ‘Remember’ is carefully placed on the rather narrow, rugged stone, and that to fit in the larger letters, the first ‘M’ and ‘E’ share a stroke, and the second ‘M’ and ‘B’ do too. And note the three different forms of the letter ‘E’. All add variety, catch the eye, show what good design is all about, but need inspiration, careful thought and great cutting to execute.

Perhaps more easily seen and certainly more complicated is the memorial to Francis Crick at Gonville and Caius College in Cambridge. His work on the double helix structure of DNA won him a Nobel Prize. Cut in green slate and Caithness stone, the DNA structure forms the pattern for the memorial and can be seen from outside the college from the Senate House entrance opposite St Mary’s Church.

Another complicated piece for the workshop was the design for the Garden Building at King’s College also in Cambridge. Twenty seven slates from the roof of the college were used – not that easy as they had little depth for cutting and the edges were friable – to mark the benefactor, and tie in the name of the building and the life of the benefactor’s late brother with flowers from English gardens of particular resonance to the family.

Everyone in the workshop was involved in painting the flowers on the slate tiles.

Benefactors to Cambridge colleges and Nobel Prize winning scientists are one thing, those who gave their lives saving others at sea are another, but those unsung heroes are nevertheless recorded and remembered on this slate which is now on the Old Coastguard Rescue Station at Shingle Street.

Almost missed perhaps on the building itself, but appreciated by anyone who walks by and notices the many ways in which extraordinary people can be remembered in stone.

This little book has so many examples and is certainly worth buying to look through and appreciate the many ways in which letter cutting can bring buildings to life and record the lives of those of note.

The Wait

All those who love sport have been frustrated at either not being able to play it, or not being able to watch it, or both, during the spring and summer of this Covid-19 pandemic. Jimmy Lee from the England and Wales Cricket Board wrote a really poignant poem about this waiting, and the fact that in cricket this is what often happens. But, as he says, waiting isn’t time wasted, and we are a nation that queues. His words are really well chosen and they were read out by Stephen Fry in a wonderful film about the ways in which those who love this sport are just waiting for the game to begin, but that they are also contributing and helping those who are NHS and other Heroes on the front line during these challenging times. Watch the film here and have tissues ready!

So as some of you who are now familiar with how to tackle any text, poetry or prose will know, the first thing to do was to write it out. This artwork was to go on the wall so it couldn’t be written too small. And with quite a few lines too, there needed to be adequate space between them so that it was easy to read. I used my favourite green paint at the moment (Schmincke oxide of chromium – it really is wonderfully smooth for writing – mix with water to the consistency of thin, runny cream as always!) and a size 4 Mitchell/Manuscript nib and wrote the lines straight out just as they were.

I then photocopied this and cut the lines into strips to experiment with the best distance between lines. I also wanted to break up some of the lines and emphasise others by writing some of the text in small capitals. So I laid the lines out on to paper and played around with them a little and attached them with magic tape. I had the idea of writing out the title with a lot of space between the letters so that the letters themselves looked as if they were waiting, and when I’d done that I thought that red circles between the letters (a bit larger than just dots) could look as if they represented cricket balls.

I also wanted to add an illustration of a cricket bat resting on the stumps waiting – my first sketch in pencil is on the rough of the lines above. I searched for a long time to get an image of a bat at the right angle looking as if it could balance on stumps, and stumps too at the best angle, and made a number of drawings with the bat in different positions and the ball in various places. In the end I had what I thought looked best. The crease of the cricket pitch is usually cut very short, but all cricket lovers were waiting, and so I painted the grass longer than it would be in most matches. I also found an image of a bat with a red and black handle and this added a little bit of red to that part of the painting, thus slightly linking it to the red cricket balls in the title and the one by the stumps.

And so the piece was complete. It is so satisfying to write out words that have real meaning and to have a challenge in painting cricket stumps, bat and ball with an aim to get the proportions right and for them to fit in the best way.

‘…With Wakened Hands …’

I really like this quotation from D H Lawrence, although I do wish that he hadn’t excluded women – many of whom have wakened hands just like men! However, these were the times and the words resonated so much with me that I wanted to write them out.

As usual, I wrote out the words just as they were and, for the last few months, I’ve been writing quite small, so I cut a swan’s quill to the equivalent of a size 5 Mitchell nib. I knew that I wanted to pop in a couple of flourishes on the top line so introduced these as I was writing the words. Having written the words out in the same script, I then read it through again to consider which phrases had particular meaning for me and wrote them out in small dancing capitals. One of the great things about being a calligrapher is that we all react to words differently, so what I choose to emphasise may not be the same as the next person. For some reason, although I love ‘with wakened hands’ I missed out the ‘with’ in the first write through and then the whole phrase in the second version! What was it about wakened hands that weren’t going through my brain?

I then photocopied the page and cut the text into strips for each line, breaking the text where it fitted my proposed design and allowing for the sense and flow of the words. The advantage of doing this is that when writing things out in rough usually I am much more relaxed and it doesn’t matter if I make a mistake as I can just write in the word or phrase again as can be seen; this means that the text isn’t tight and cramped as it may be when first writing on the prepared surface and on lines carefully measured and drawn. I marked the mid point of each line and placed them in order on a white piece of paper at about the best distance between the lines. I also numbered the lines (very important to ensure that the lines don’t get mixed up!).

I then used two L-shaped pieces of card and slid them up and down and in and out to set the margins of the piece which meant that I could cut a piece of vellum to this size and then prepared it for writing. I used a set of compasses to measure out the distance between the lines with pin pricks, and then ruled horizontal guidelines and also a vertical line indicating the centre.

I loved the green colour of oxide of chromium so I mixed up this Schmincke Calligraphy Gouache to the consistency of thin, runny cream and used a piece of magic tape that I’d taken some of the ‘tack’ off by pressing it again and again on my finger to attach the photocopied strip of the first line above where I was to write, lining up the centre point. Having the text just above where I was to write meant that it was much simpler to ensure that the words were spelled correctly and written in the right place so that the lines were centred.

So the text was written and now for the painting.

I really enjoyed painting squirrels on a recent piece so I decided to paint some more. Previously I had painted squirrels on grass. This time I thought I’d paint them in autumn on a bed of leaves, so I looked up images of red squirrels online and chose three in different poses for the top. I used a 000 Kolinsky sable brush (I prefer da Vinci brushes from Cornelissen and Son in London as they are such good quality) with watercolour and a strong magnifying glass – they were only about 10 mm tall! For the bed of leaves I used dilute light red and ochre to paint a wash, and then a darker brown to paint the leaves themselves – half of it is done in this enlargement.

At the bottom, I decided to use different images of squirrels on a dead tree trunk including a baby. I am on a campaign to get calligraphers to ensure that their work can be identified in the future by putting their names or their known cipher on their work. Here I wrote my name as small as I could in the same red colour underneath the leaves. And now the piece was finished!

Red Squirrels and an Uplifting Quotation

This quotation by J B Priestly is new to me and as soon as I read it I wanted to write it out. At these challenging times (April 2020) the words hold just the sort of promise that we need – tomorrow is a new day, a fresh start, and those wonderful words ‘with perhaps a bit of magic waiting somewhere behind the morning’! What could be better than that. I seem to be writing out a few long narrow pieces lately, and when I wrote out these words to see how they would ‘fall’ on the paper, they followed that pattern. I wanted to emphasise some phrases more than others – ‘a new day’, ‘a fresh start’ etc, and wouldn’t normally have written them in alternate lines like this, but that is just how it happened; and, of course, that ‘bit of magic’ needed to be different for significance! To add emphasis to the initial and the top lines I added a few flourishes.

The piece was written out on vellum for The Prince of Wales, President of the Heritage Crafts Association, to thank him for his kindness in suggesting his own President’s Award – an annual award for endangered crafts as identified in the Heritage Crafts Association’s Red List of Endangered Crafts. It was a beautiful piece of vellum which, once prepared, took the writing and paint very well.

As it was for The Prince of Wales I wanted to make it personal to him and so checked to ensure that he was as keen on red squirrels as ever, I was told that indeed he was. If newspaper and magazine articles are correct, His Royal Highness encourages them to come into the house at Birkhall. So at the top I painted a tiny red squirrel no more than 10 mm high eating a hazelnut. (Sadly the magnification doesn’t really show the detail of each hair being painted separately.)

Then at the bottom of the writing, to round it all off, I painted a squirrel looking alert, as though it was watching The Prince of Wales, and it is holding tiny Prince of Wales ostrich plumes in its paws to make it personal to him.

We don’t really get feedback on whether royal gifts are appreciated (or even seen) but I do hope that, if he sees this, The Prince of Wales’ spirits will be a little lifted by the words by J B Priestly and by his beloved red squirrels themselves perhaps bringing that ‘bit of magic waiting somewhere behind the morning’.

Patricia Lovett MBE

Calligraphy | Illumination | Design