‘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’.

Self-isolating? Here’s a treat

Writing this at the beginning of April 2020 we are in the throes of self-isolating because of the Covid-19 virus. My small contribution to others who are having to self-isolate as well are four different notices to put on your front door or at your window indicating that you too are in this situation.

They are produced to be printed at A6 size, but of course you can make them smaller or larger as you wish before you print.

These are copyright-free to anyone wishing to use them in a personal capacity. Print them off for nothing for friends and relations, but please, in the spirit in which they were produced, don’t sell them or profit from them.

It is hoped that in these dreadful times this may bring a tiny bit of cheer.

Designing a vellum panel – the Kellogg College Grace

Creating a suitable design for writing out the Grace of Kellogg College in Oxford on stretched calfskin vellum created an interesting set of challenges. Unlike all other Oxford colleges, the Grace is in Welsh rather than Latin (or even English?) and I was asked to include a translation as well. The college has a close association with the Kellogg Company incorporating an ear of wheat in its coat of arms so I thought it would be appropriate to use this in some way in the panel. And being an Oxford College not only did it have its own coat of arms, but it seemed sensible to include that of Oxford University as well.

So I knew from the start that the two shields would be there in the design and that the text in one language would be in a different style from that in the other language. I experimented with different sizes of nib and writing styles, and also sizes and placement of shields, and made a rough paste-up. This is a very first draft, it became more refined as I went on, but this is where I started.

Starting from the top. The size of the shields needed to be large enough to be significant and be seen, but not so large that they dominated the piece – it was to show the text of the Grace after all, and wasn’t an heraldic panel! Then to join the shields at the top or the bottom, or to have them side by side or even one above the other? As the college is part of Oxford University it seemed best to have them joined in some way and I thought that facing outwards (independent but linked) and joined by the corners touching rather than the shields facing inwards and joining at the curved sides worked best. I decided early on that I wanted to have just a little bit of bling in the panel so used gold for everywhere it would seen sensible to use gold – and even where perhaps it wasn’t! So the Oxford University shield had gold crowns and gold clasps on the open book, and Kellogg College had a gold ear of wheat. I had to check to see whether the number of grains was in the blazon (it isn’t), but did find that the indented vertical line (per pale) had a specific number of complete white ‘peaks’ which represented the eleven founders.

And then on to the heading. I had experimented with capitals for ‘Kellogg College’ and Italic for ‘Grace’ but this meant that there was very much then an hourglass effect in the design. I also wanted to make a little bit more of ‘Kellogg College’ so I re-wrote it in different sizes of nib until I had the one that looked right and also experimented with flourishes. I thought that there was need for some degree of restraint here as it is a Grace after all, so flourishing just the second letter ‘l’ in each word seemed to work best. I also added three gold diamonds made with the pen on the initials ‘K’ and the ‘C’ and used a pencil burnisher to make sure that they shined. Then on to the tricky ‘Grace’ word – there are only five letters and it brought the whole piece to a very narrow place visually. Writing them in capital letters allowed me to space them out without losing the cohesion of the word, and I then used the pen to make a red diamond between each letter, and added a small circle of gold in the centre of each which I burnished using a pencil burnisher so that they shone. This brought the gold and red colours from the shields down into the piece as well. And I wanted to use those wheat ears which I really enjoyed painting, so popped two in before the letter ‘K’ and two into the bowl of the ‘C’.

When there are translations like these it is a choice whether to use two colours (I did experiment with alternate red and green texts to represent Wales, but realised that it was a bit garish and actually this college was in England!) or two styles of writing, and tried also the Welsh in capitals and the English in Italic. As the Grace is said in Welsh, it seemed best to make this more dominant than the English translation, and, conveniently, the top line had quite a few letters ‘d’ which lent themselves to flourishing. Notice that only the first and last of the letters ‘d’ have been flourished in ‘dedwydd’ – more flourishes on the other letters ‘d’ would have upset the rhythm of those flourishes and drawn the eye particularly to that word. I also picked up the wheat ear theme again and painted a couple of very small little gold wheat ears at the top and bottom of the Grace itself.

One of the things that I always suggest to clients who are kind enough to commission such pieces is to say who gave it and whether this was for a particular reason. This is especially relevant when a piece is commissioned for a special birthday or an anniversary, otherwise it could look as if it was just bought off the shelf and not made explicitly for the occasion. It doesn’t need to be big or intrusive – here just a line of small capitals explains who gave this and when and it also neatly finishes the panel as well, bringing it to a conclusion.

And to bring the whole piece together, a single ear of corn wasn’t substantial enough at the bottom, so here there is a sheaf of golden wheat held together by twine. On the same lines of who commissioned the piece and for whom, I am always interested in who has done the work. We expect paintings and drawings to be signed, and the names of authors of books are on the cover and inside, but for some reason calligraphy is rarely ‘signed’. I now always try to ensure that my work is signed inobtrusively s possible either by using just my initials in a cipher (PL) or my whole name. In this instance, the width of the sheaf of wheat determined that I would be able to write only my initial and surname.

Designing the whole piece created a series of challenges which shows the value of trying things out before committing to the final piece, which of course we all know!

Rectors of Chevening

Being asked to create a panel listing the rectors of St Botolph’s Church in Chevening, Kent, was a fascinating project with a number of interesting design challenges. The list goes back to Reginald in 1262 and there were 56 names in all. It’s always a problem working out the size and style of the lettering so that there is a wide enough space for names as long as William de Wintreshull but also accommodating short names such as John Wode and John Crull without having a large white space on the right.

Because it is a formal piece and the script should reflect that, I began by writing out the names in round hand (English Caroline Minuscule), or Edward Johnston’s Foundational Hand as here. However, I soon realised that those long names were causing me problems and the columns would be too wide. I had decided at the start that there should be three columns as two would have made the piece too long and four would have resulted in a wide panel and the lettering for the names would be too small.

So I changed the lettering to Compressed English Minuscule and this worked much better. I wasn’t sure whether the dates should be in black or red – the problem with a vibrant red is that it can be overwhelming sometimes. I tried both and realised that actually the red dates looked better than the black. I also asked the client if there were flowers or plants associated with the church.They didn’t have any ideas so I looked for suitable biblical texts and thought that John 15: verse 5 seemed very appropriate – ‘I am the vine; you are the branches’, the rectors being the branches in spreading the word. This also gave me the opportunity to use vines and grapes as decoration.

It took a little while to get the information correct. After I had written out the rough it was suggested that where there were two rectors in one year the date was omitted which really didn’t look right, and then that there should be an ampersand rather than the year as here, but this didn’t look right either. In the end it was decided to revert to my original layout.

The piece was so large that I couldn’t stretch the vellum before I started as I wouldn’t have been able to reach to letter the top, so I prepared the skin, which was quite bumpy, drew all the lines and set to. Because the heading is often the most daunting I always start with this to get it over with, and then worked my way down the board. I left the red lettering so that I could do it all in one go.

Then it was on to painting the vines and grapes.I decided that the vine should start in the middle of the piece and then the branches should extend out to the right and left. This also gave a nod to mediæval images of the tree of Jesse which also seemed rather appropriate. To get the best balance with the lettering and the position of the paintings within the piece, I designed it so that the leaves and grapes were the largest at the bottom, a little smaller either side of the name ‘St Botolph’s’ and then smallest of all on the row just above the columns. I don’t know how many leaves I painted, and certainly not how many grapes, but there were thousands it seemed!

The skin was very bumpy as can be seen when unstretched, and so it needed to be dampened and then pulled round a strong piece of wood and carefully attached at the back. This will also help to keep the vellum flat in the cold and sometimes damp atmosphere in many churches.

No roses for Christmas

Each year I try to find something a little different for our Christmas card, and the Shakespeare quotation of ‘At Christmas I no more desire a rose Than wish a snow in May’s new-fangled mirth; But like of each thing that in season grows’, from Love’s Labours Lost, seemed rather apt. I so enjoyed writing and painting the card I did a couple of years ago where I used the words of the first verse of the ‘Holly and the Ivy’ carol, writing round an oval and then painting holly and ivy in the centre as here, that I thought I’d do something similar again.

I sketched an oval and made a first attempt to see if the words fitted. Interestingly, the number of letters was about the same as the Holly and Ivy card so I knew it had to work. As before, I wanted the first line to go across the top of the oval rather than starting at the top middle. The first attempt here almost worked, but I started too high up on the left hand side, which meant that it didn’t balance on the right. I tried once more and finally I had it about right.

So I prepared the vellum, sketched on an oval, and got ready to write. I do wish that I could just keep things simple – but no! Writing in a circle, spiral or in an oval shape is always a challenge. The substrate has to be continually turned so that the letters are upright compared to the baseline and it’s very difficult to develop any rhythm and flow. And now I’m thinking, bearing in mind all of the above, why did I decide to write in not one, not two, but three colours? I thought the lettering would look good in oxide of chromium green (a really lovely colour to write with – the Schmincke Calligraphy Gouache version is so smooth), madder red and vermilion but this additional challenge was one whereby each individual stroke had to be considered in terms of the colour that was used before, and the colours were changed even in single strokes. I held the brushes apart in my left hand and simply stroked the quill nib gently on the paint to pick up the smallest amount of appropriate colour before writing.

But it was so lovely writing on vellum that even these challenges couldn’t put me off! Yet again authors don’t always consider calligraphers! Why didn’t Shakespeare know that at some point a few hundred years later I would want to flourish his words when written round an oval? Fortunately the two stretches of words without ascenders from ‘wish’ to ‘fangled’ on the right, and from ‘that’ to ‘Christmas’ on the left, fell sort of evenly either side of the oval, so there weren’t loads of extended strokes on one side and few on the other, and the two areas with no flourishes balanced out. Some of you may also notice that in concentrating on the writing and colours being fed into the pen I got a little short on space and so had to drop the ‘e’ from ‘fangl’d’. I reckoned that this was something that Shakespeare may well have done so didn’t feel too badly about it!

Then it was on to the rose painting. I had taken some photographs of the last roses of summer from our garden, and although it’s always better to paint from life, doing this in November meant that there were no decent roses left to paint! Here I’m two down and three to go. (The colours here are slightly different because I took this photograph in the evening under artificial light – I was working long hours on this!)

And again the finished piece with the three colours blended in places in the text picked up by the different reds and greens in the paintings. The darker areas on the right are wear the unstretched vellum has dipped. It seemed to turn out reasonably well despite this.

Patricia Lovett MBE

Calligraphy | Illumination | Design