There seems to be two avenues for pursuit--both with merit.
The first is more or less the continuation of what has been happening for the last 30 years or so-- to practice and perpetuate the craft of calligraphy. As the western culture scrambles to embrace the computer age, calligraphy and calligraphers in particular will become more or less like important artifacts. I can easily see calligraphers becoming a kind of cult of living artifacts.
The second alternative would be to embrace the freedom that this image culture gives the calligrapher. The invention of the printing press seemed like it would signal the end for the scribe, where in fact calligraphy found a kind of rebirth. The scribe, removed from the awesome task of repetitive writing, was able to explore the invention of type fonts and,with the printing of calligraphic copybooks, new calligraphic styles. This creative role has continued, and in many ways can be said to have blossomed anew with the invention and perpetuation of the computer.
This program begins where this letter work ends. The contemporary calligrapher in the culture of the images, has an even more profound freedom than the visual distortion of the alphabet. The modern calligrapher can take freedom from the alphabet itself-- not a freedom the leave writing behind, but to explore writing in the culture of the image. We will examine a multitude of directions for finding new visual writing systems: visual communication systems which combine ideogramatic (images, symbols) and alphabetic components; a system combining numeric, alphabetic, and musical notation systems; alphabets based on visual themes as opposed to verbal restrictions; and alphabets where an “A” many be a “2”, or a dot or a thumb print.
The program an an opportunity to immerse oneself in total calligraphic fantasy. The entire history of visual communication systems will be our spring board. Exactly what will we create? I envision the work being akin to a mysterious code or ancient magical system of writing. And what will each student learn? Aside from experiencing th joy of actually creating something new and something personal, the work will be guided by the application of visual themes of communication--figure and ground relationships, pattern development and variation, visual harmony and contrast, etc.
Students will also have the opportunity and be encouraged to explore a variety of new tools.
DISCOVERING YOUR OWN WAY
The course content will concern itself with the idea of calligraphy as a personal expressive visual art form. One goal will be for students to learn how to look at calligraphy and work containing calligraphic elements through the eyes of the artist. Students will learn how to ‘read’ their work by interpreting the visual characteristics of lines, shapes, and colors into expressive content. We will also want to learn how to see and explore the use of space within our work. The artist’s concern for figure/ground relationships will be one of the most important study areas. The program will help students to expand their ways of thinking both about calligraphy and about art. More importantly we will try to explore how these new tools can help us discover our personal means of expression.
There will be two specific areas of study. The first will be on modern calligraphy in a very strict sense of the definition. In order to understand what this definition of calligraphy is, it is easier to say what it is NOT. It is not a repetition of historical letterforms or even a variation of a historic form. It is not to copy the latest ruling pen or commercial brush lettering style. What is it? It begins with the willingness to search for the new-- to search for what we do not know. The calligrapher becomes an inventor of form rather than a copier of form. One of our important themes will be to examine how form is guided by the physical act of writing. This exploration will of necessity involve discussions on visual and verbal legibility, art and craft, etc.
OR WRITING (RIDING) IN THE CULTURE OF IMAGES?
(this program also available in 5-day format)
In the 21st century we will continue to see the “idea of writing” fighting for dear life so as not to be overcome by the electronic culture of images.
A proclamation that “writing is dead” is not likely to arouse much opposition these days.
What does this future mean for calligraphy?
Traditional Lettering Classes
The Language of Modern Calligraphy
Book-making and Book Design workshops
Long Term Extended Studies Programs
If you are interested in the current teaching schedule or would like to inquire about availability and fees for teaching please contact by e-mail info@thomasingmire.com
