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!