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Lay Members’ Exhibition 2022

With Capital Letters having been cancelled for the last two years, it was fantastic to be able to hold it this year. Being able to see work ‘in the flesh’ made everyone who was able to attend realise quite how much they had missed it. However, we are very pleased to be able to have a virtual Lay Members’ Exhibitition again, for Members who were unable to attend on the day, and for those who would like another look. We hope you enjoy it.

There were five categories this year: ‘Hope’ by Emily Dickinson, ‘Blue’, ‘Tutankhamen’, ‘Cosmos’ and ‘Own Choice’. We are delighted to be able to present the entries in the following slideshow, with comments kindly written by Tony Curtis FSSI.

Thank you to Steve Eades and Alma Swan (Capital Letters and Lay Members’ Exhibition), Tony Curtis FSSI (comments) and Alun Briggs (webmaster/slideshow designer).

Please scroll down to view the exhibition. Hover over the slides to see navigation arrows, or swipe if you are viewing on a tablet or mobile phone.

 

  • Welcome to

    the virtual

    Lay Members' Exhibition 

    2022
  • Welcome to the virtual edition of
    the 2022 Lay Members' Exhibition,
    shown at Capital Letters.

    Tony Curtis FSSI has kindly written comments
    on the submissions.

    We hope you enjoy the exhibition.

  • Entries for Topic 1
    'Hope is the thing with feathers'
    by Emily Dickinson
  • Aisling Blagg
    Hope


    Gouache, Ecoline 508 on cartridge paper
    42cm x 29.5cm

    Improver

  • calligraphy by Aisling Blaggg
  • calligraphy by Aisling Blaggg calligraphy by Aisling Blagg

    The uncial letterform adopted for this work is carried through
    to the drawn and painted title word where it serves its purpose well,
    although the weight of these letters is a little excessive, especially
    with the E. Writing formed around a spiral is never easy but it flows
    reasonably here and the geometric form adopted for each of
    the three verses is accurately drawn (using the ‘offset semi-circle’
    technique, very sensible); it also makes good use of internal space.
    The uncial texts are a little uncertain in execution, sharpness,
    and form; I feel it would be worthwhile revisiting the script with
    those essentials in mind. However, this is a nicely arranged piece,
    and the decorative elements help to bring a pleasing balance
    to the whole.

  • Susan Liu
    Hope is the thing with feathers

    A concertina album with 23.75k gold on gesso, watercolour,
    300gsm hot pressed watercolour paper, black paper.
    Italic script is 2mm x-height.

    17cm x 115cm

    Intermediate

  • In this concertina album the three verses of Emily Dickinson’s poem
    are written on one page each, with an additional page containing
    a bird emblem, gracefully drawn in weighted line‑work. A black
    paper cover, illustrated with a gold feather and the poet’s name,
    completes (and complements) the binding. The tiny, flourished
    italic script, follows a large gilded (raised and burnished) initial for
    each verse, itself decorated with a delightful stylized floral pattern
    which is both restrained and elegant. All the elements of this piece
    work very well together and are testament to the enormous amount
    of planning and work that must have been required to produce
    this delightful book.

  • Tong Zhou
    Hope by Emily Dickinson


    Speedball C4 nib, Chinese stick ink, Canson Ingres paper
    32cm x 50cm

    Improver

  • The italic writing in this work is confident, rhythmic, and executed
    with consummate skill. Flourishes and stroke extensions, such as
    swash serifs, can be quite challenging but with these letters they
    are an assured part of the letterform. This is true also for
    the capital letters, which have considered (i.e. understood and
    applied with care) personal qualities that harmonize brilliantly.
    The four letters of the title word follow suit with capitals of
    a heavier weight which are again sharp and soundly constructed
    – but also free. The colour and composition work well but a
    small credit line would have been a good addition. A very nice piece.

  • Entries for Topic 2
    Blue
  • Meg Chapman
    What is Life


    Quink, water, Brusho, fine brush, pointed nib, watercolour
    35cm x 20cm

    Advanced

  • This short statement on a variegated background is a celebration
    of the colour blue, and the effect on the paper that has been
    achieved is bold and strong, cascading effectively down into
    a deep margin at the bottom. The lightweight compound capitals,
    used for four of the five words, are unified and evenly weighted
    and fall gracefully down the page. Some letter pairs are linked
    or share constructional elements; perhaps the junctions that
    occur in the first two words are the least readable, but this could
    be down to the clarity of the photograph and certainly does not
    detract from the design. An interesting piece.

  • Simon Daniel
    Blue (The Rolling Sea and the Endless Sky)


    Gouache, acrylic ink, Mitchell nibs and Micron 003 pen, 300gsm HP paper
    40cm x 32cm

    Intermediate

  • This is a clean, sharp rendering of a modern classic format.
    The light italic letters flow naturally and with a personal quality,
    serifs extend to hairline flicks and many other strokes run on
    into light flourishes without hesitation; almost, but not quite,
    cursive. There is great energy, but also discipline, in this writing.
    The scale of the other text – title and credit – is nicely balanced
    and the simple ‘block’ illustrations, as well as the colour scheme,
    greatly compliment the piece.

  • Christina Freeman
    Kingfisher


    Yalloplate script in Arteza gouache on Canson XL paper.
    Embellished with Windsor & Newton Cotman watercolours
    with Derwent Inktense and Graphitint pencils.
    22.9cm x 30.5cm

    Improver

  • A modern variant of copperplate writing, this script
    certainly has energy and momentum, but it is not
    always as readable as it might be, causing the
    scanning eye to stumble a little here and there.
    However, this is a minor issue and the spectacular
    painting of the kingfisher, seemingly as it breaks
    free, scattering water, is dramatic. There is a great
    deal of depth and movement in this piece.

  • Gwyneth Hibbett
    Devil and the Deep Blue Sea


    Gouache, metallic watercolours, coloured pencils,
    pointed and broad edged nibs
    21.5cm x 16cm

    Advanced

  • Here we have a strong and bold use of Roman rustic capitals,
    nicely decorated and all kept fervently within the ‘blue’ theme.
    Rustic caps are by no means easy, but these have caught
    the essential characteristics whilst responding well to a few
    letterform adjustments to suit their purpose. The four words
    written in an open gothic style (more Bâtarde) occupy the space
    very well and the closing copperplate line pins the design neatly.
    Some of the internal decoration lacks detail but the ‘devil’ header
    is well drawn and the whole piece sits nicely within its boundaries.
    A neat and balanced piece.

  • Cynthea Rhodes
    Ancient Sources of Blue


    Windsor & Newton gouache, drawn capitals and smaller pen writing
    on smooth cartridge paper, pastel background and dark indigo mount
    23cm x 38cm

    Intermediate

  • An ambitious panel about some of the ancient origins
    of blue pigments and dyes – a good choice of subject,
    with plenty of source material. The text blocks are written
    in an informal italic, which is fine in and of itself, but their
    structure is loose and imprecise – coupled with the rather
    generous spaces between text areas it makes for an
    unbalanced piece, overall. A title for the panel would also
    have helped to focus the observer’s attention. The colour
    palette carries the theme well but is rather heavily applied
    in places. A reasonable piece, but it might be useful to
    examine some of the issues above.

  • Jan Štěpán
    All that is gold does not glitter


    Parker ink, Mondi Color Copy Office Paper, Nikko nib,
    old Czech variant of copperplate (19th century)
    21cm x 29.7cm

    Novice

  • An interesting rendering of one of JRR Tolkien’s poems; I feel
    that the choice of a style of copperplate handwriting has suited
    the piece, and its context, admirably. Well spaced and arranged
    (although the image does not indicate margin sizes on the A4
    support), the writing is reasonably accomplished although it
    does not include the poem’s punctuation or the author’s name
    – which would, I feel, have finished the work better.

  • Entries for Topic 3
    Tutankhamen
  • Lesley Williams
    Tutankhamun's Tomb


    Brush lettering influenced by cuneiform, gouache
    and Finetec colours on papyrus
    50cm x 42cm

    Improver

  • The imagery and symbolism used in this piece link nicely,
    and appropriately, with the papyrus support on which
    they sit. Cuneiform is, of course, a pre-alphabetic script
    so it was a bold move to model roman letters on them
    for the title statement about Howard Carter, but I can
    understand the reasoning and there is some working
    imagery there with the triangular serifs (papyrus can
    present a difficult surface to work on). An enjoyable piece.

  • Erica Wilson
    Howard Carter


    Gouache and Micron pens
    18.5cm x 13cm

    Novice

  • This little piece contains some facts about Howard Carter and
    his discovery of Tutankhamun’s tomb in 1922. The monoline
    writing is based on an uncial style of book-hand and although
    it is written rather freely it does embrace the essence of the
    script. The imagery at the top and bottom of the piece neatly
    captures the Egyptian theme in form and colour, and everything
    is carefully centred. A quite effective piece, overall.

  • John Wilson
    Tutankhamen Exposed


    Watercolour, gouache and pen
    11cm x 12cm

    Novice

  • There is bold and colourful imagery in this piece, with black writing
    superposed on a kaleidoscopic ground to the left of the piece and
    a monochrome three-quarter profile of Howard Carter on the right.
    The drawn and painted letters are of a reasonable minuscule form
    which I am sure would respond to further study in that area, but
    the illustration of Carter is a little indistinct, especially at the
    boundary with the multicoloured half. An interesting idea.

  • Entries for Topic 4
    Cosmos
  • Christina Freeman
    Universe


    Weaver Writing and copperplate variation in Moon gold and white gold
    over Miniatum on Canson XL paper with Schminke paints
    23cm x 30.5cm

    Improver

  • The semi-italic forms of this script have a degree of traditional unity
    but feel just a little static here and there, possibly due to the vertical
    stance. Also, some strokes ‘fly away’ abruptly (notably the v and r),
    which also unsettles the scanning line. However, the gilding is ambitious
    and effective – it certainly illuminates the work; also, the motif in the
    middle of the layout helps to focus the design, pinning the visual centre.
    Overall, an interesting piece.

  • Alma Swan
    Metatron's Cube Revisited


    Gouache and platinum leaf on Stonehenge paper
    26cm x 26cm

    Intermediate

  • A complex geometric pattern based on Metatron’s Cube and consisting of
    equilateral hexagons forms the centrepiece of this work, along with a grid
    of overlapping circles, within which a delicate use of colour-blending draws
    the eye inwards, to great effect. The quote from Carl Jung, which encircles
    the pattern, is written in a monoline capital hybrid alphabet that takes a
    modernist form but ultimately becomes itself – it does have some spacing
    problems but generally performs its function well. Scattered across the
    background on the dark paper are stars of varying magnitude, and the
    symmetry of the whole piece – gilding, lettering, geometry, colours –
    is tied together very well.

  • Lesley Williams
    Cosmos


    Brush lettering based on Lombardic letters; gouache, Finetec colours
    and gold leaf on Miniatum, on black card
    25cm x 40cm

    Improver

  • This is a colourful piece that plainly states its purpose,
    with painted and gilded compound letters on a very
    convincing starscape background. The second O of
    COSMOS has been replaced with an image of Saturn
    (or Uranus?), but the remaining letters are based
    around classical display capitals which generally work
    well – some more than others – for example, the M
    has a solid double-arched form with a good hairline
    serif. A pleasing piece of work.

  • Entries for Topic 5
    Open Choice
  • Nick Caulkin
    Chinese proverb


    Gouache, William Mitchell size 4 vintage Round Hand nib,
    William Mitchell size 3 Round Hand nib, Higgins Eternal ink,
    watercolour pencils, UniPin 0.03 Fine Liner pen
    on 100gsm Connoisseur cotton paper
    15cm x 7.5cm

    Advanced

  • Pointed italic in its most essential form can be powerful and raw –
    tapping, as it does, into essential letterform qualities – but it can
    also suit a great many applications, and it does so here. Arguably,
    the colour shift in the first word is too pale at the beginning and
    it has weakened the descender of the p, but this is not a significant
    issue. This piece is pure, elegant, and very accomplished.

  • Steve Eades
    Chartres rose window


    Technical pens and Windsor & Newton drawing ink
    on Saunders Waterford 300gsm HP paper
    58cm x 40cm

    Advanced

  • The many-circled and beautifully symmetrical South Rose Window
    of Chartres Cathedral has been carefully reproduced here. There
    cannot be direct comparisons made between works, or copies, of
    art made across different media (here we have stained glass and
    architectural tracery interpreted with drawing ink and hot-pressed
    paper) and neither is it necessary to aim for one hundred percent
    fidelity; the work becomes something of its own. Some of the
    window’s detail has presented problems and the colours have not
    transferred with the brilliance of the original, particularly the blues
    and reds, but again, there is a tremendous variation in scale here
    and colour works in quite different ways with different media. The
    three-line title for the piece feels somewhat detached and, although
    lettered in medieval display capitals they are a little late in period
    and are rather too ornate. None of which seriously detracts from
    the vitality of this work.

  • Donna Foster
    Hours for Our Time


    Finetec, gouache, wood, gold leaf, bookbinders' PVA, paper
    42cm x 59cm

    Intermediate

  • This striking piece is, in the first place, a celebration of circular symmetry,
    but each leaf (it seems) has been hand-cut and very carefully placed and
    assembled – there is a great deal of precision work on display here.
    Twelve gilded words in an elegant copperplate script adorn the topmost
    layer of the design, all complementary to the shapes, colours, and patterns
    that form the rest. A strong and imaginative piece of work.

  • Simon Gray
    High Flight by J.G. Magee


    Gouache, Brause nib, clingfilm background, Arches rough watercolour paper
    36cm x 48cm

    Intermediate

  • This interpretation of Magee’s famous poem uses ‘reversed out’ letters,
    written with a type of resist against a painted background, and it works
    reasonably well. It can be difficult to work with any resist media, but I
    feel that the technical issues have been surmounted admirably, there
    are also apparent layers and colour tone variations which are also
    effective. The writing itself feels at times to be modelled on both italic
    and Foundational hand but does not settle to either; I feel that some
    revision would be useful there. Minor issues are the line spacing (a little
    too tight) and the curving lines which need, perhaps, more discipline.

  • Elizabeth Jenks
    In the style of Adolf Bernd

    Golden So Flat acrylic paint on Saunders Waterford 425gsm NOT paper
    38cm x 28cm

    Intermediate

  • This monogram of the initials EJ (for the artist, I am sure) is interesting
    and does have some of the hallmarks of Bernd – letters and background
    formed in proximity with narrow channels of space between them and
    on that level, it works very well. However, the letters are largely
    rectilinear, and their shared strokes contribute to an overall box shape
    for the monogram which, I feel, steers the design more towards the
    abstract and unbalances it a little. I also think that adding more weight
    to the letters and making use of curved variants of them (of which there
    are many choices) would have made for a more harmonious piece.

  • Fernando Lembo di Pino
    Sun will rise again

    No comments

    Amalfi handmade paper, Maimeri tempere, Herbin's ink mix,
    seagull quills, Pilot gel pens, gold leaf on gesso
    56cm x 41cm

    Intermediate

  • Colin Lumsden
    17th century lockdown


    Acrylic inks, Higgins Eternal ink, masking film, Mitchell nibs
    18cm x 42.6cm

    Intermediate

  • The green gothic writing in this piece, words taken from the text,
    creates a dense pattern of informal compound letters which contrast
    powerfully and most effectively with the main body of text; difficult
    to decipher but certainly no worse for that. The colours within those
    words shift and change in attractive and subtle ways and all the
    negative spaces in this piece are well controlled. Competent
    semi-formal italic writing completes the quote and makes an informed
    nod towards the source material’s period – the spacing is gracious
    and measured for letter, word, and line; the credit line floats, perhaps,
    too high, but it serves to ‘pin’ the upper right corner neatly.

  • Ann Mason
    Shaped and fashioned

    No comments

    Pastels and coloured pencil on Fabriano Artistico HP paper
    18cm x 48cm

    Intermediate

  • Alison Millin
    Geometry


    Pencil, compass, gouache and metal nib on HP paper
    17cm x 34cm

    Intermediate

  • Foundational hand is a good choice for writing out a quote from Plato,
    touchstone letterform that it is, and this model bears all the essential
    hallmarks. There is more work to be done on some aspects, including
    the essential structure of some letter families and the updating of
    archaic forms but with extended practise and growing confidence this
    writing should continue to mature very nicely. The geometric pattern
    in pencil (plus the credit) is underplayed and therefore balance well
    with the writing, and all the working spaces have been carefully
    managed. A competent piece of work.

  • Ramli Salehkon
    Hamlet's players





    Intermediate

  • Gothic letterforms can tend to be overlooked when seeking good models
    for a piece of formal writing today but there is no denying the power of
    the script or its rich, pattern‑making, potential; and this little piece
    demonstrates both. While the textura letters are confidently formed,
    the rhythm and spacing is a little uneven and the flourishes are somewhat
    over-decorative – in that they do not necessarily harmonize with the main
    pen strokes. The markers produce colours that are vibrant but patchy;
    perhaps a more even film of gouache paint would have been more effective.

  • Mark Scott
    LuYu


    Brause nibs, Higgins Eternal ink, Conte pastels
    on Fabriano Artistico 90lbs HP paper
    42cm x 29.7cm

    Intermediate

  • Italic writing can distil the very essence of rhythm, energy,
    and movement, of course, and it is used to great effect in
    transcribing these words from Lu Yu. The curving lines of
    writing are carefully controlled, and the letters faithfully
    keep track, with the occasional flourish which helps to
    reinforce freedom and motion. The underlying drawing in
    pastel complements the monochrome theme and is
    sympathetically posed – it also ties in well with the writing.
    An imaginative piece.

  • Ruth Sutherland
    Speedy Tamar

    No comments

    Decorated Arches watercolour paper, gouache, watercolour,
    gold leaf on Miniatum
    57cm x 28.5cm

    Advanced

  • Alma Swan
    My Fruit


    Watercolour, gold leaf and shell gold on stretched vellum
    19.5cm x 17.5cm

    Intermediate


  • The illustration in this piece stands strong and clear;
    tree and leaves are softly tinted and sit behind the clean
    and sharp painting of four blackbirds (which I particularly
    like); the contrast is very marked. The fruit is beautifully
    gilded in different shades of gold leaf which lends a subtle
    variety to the whole. Lettering in a circle can be difficult
    to manage and there are a few spacing issues with the
    slightly weighted caps, as well as one or two problems
    with letterform here and there, but not seriously so.
    Coloured inter-word dots have linked lettering and
    illustration most agreeably – although perhaps some of
    the dots are too large. A charming piece.

  • Rebecca Thompson
    John 17:21


    Earthenware clay, underglaze and clear glaze
    52cm diameter

    Improver

  • This is an ambitious project involving, as it does, lettering and
    illustration on a circular ceramic support. The painted compound
    capitals are modelled reasonably well and are radially aligned
    with care, although there are a few issues with letterform unity
    and spacing. The central illustration creates an effective focal
    point, and the use of colour elsewhere helps to ‘punctuate’ the
    aesthetics of the piece, although the colour density is rather
    varied. While the text is clear enough, the sector of negative
    space and the hyphenated word does tend to hinder readability
    towards the end.
    Nonetheless, this work presents a pleasing balance.

  • Sherri Trial
    Words have no power


    Watercolour, gold leaf on calfskin, Brause nibs
    9.5cm x 9cm

    Intermediate

  • The shadowy overtones of this Edgar Allan Poe quote have
    been handled well here, with an exquisitely painted miniature
    of a raven as a centrepiece and expertly written italic and
    Roman capitals above and below, all carefully centred and
    demonstrating effective use of colour; also, the tight interlinear
    spacing encourages the overall feeling. The gilded cartouche
    which contains the painting is, perhaps, over-decorated laterally
    and the credit text, written along the vertical axis feels
    misplaced – but these are minor issues. This is an atmospheric
    piece which certainly draws the eye.

  • Oona Tully
    Subh Mills (Sweet Jam)


    Gouache, Sumi ink and gold leaf on Fabriano Artistico 300gsm paper.
    Handprints were created by artist's grand nephews
    50cm x 40cm

    Intermediate

  • Texts written in the Irish language are not very often seen
    as works of calligraphy, comparatively at least, so this poem
    by Séamus Ó Néill is a welcome submission. The insular-style
    writing is sharp, unified, and lively as it drops down the page
    interleaved by an English translation in neat red capitals;
    all the writing lines are arcs of curves, and this adds another
    level of vitality. With decoration in gold leaf and handprints
    in paint all elements work together to produce a distinctive
    and striking piece of formal writing.

  • Jo Turner
    The Earth is Young


    Gold and silver leaf, ink, gouache, William Mitchell pens
    on HP cotton watercolour paper.
    Inspired by engraved back and white ilustration found in an old book.
    Misquoted Matshona Dhliwayo
    24cm x 26cm

    Intermediate

  • The illustration in this piece is particularly effective, especially
    the landscape/marine element in the bottom third with the
    washed colours and stylized imagery. The rest of the work
    feels more like a nod to medieval illumination, with the use of
    metal leaf, star patterns and an almost-heraldic sun disc – all
    reasonably effective. The uncial writing is competent but
    lacking in certain finishing detail, such as definite serif forms
    and sharpness of pen strokes – but these things will continue
    to improve with more experience. The writing also feels
    slightly detached from the design of the whole, but the piece
    is generally well balanced.

  • Erica Wilson
    Sea Fever by John Masefield


    Micron pen and coloured pencils
    17.5cm x 15cm

    Novice

  • A straightforward rendering of the first verse of
    Masefield’s famous poem in lightweight uncial
    letters which are reasonable interpretations of
    most standard model letterforms of that script.
    The accompanying illustration on a shoreline
    theme is very accomplished and echoes the
    light touch of the writing. An interesting piece.

  • Thank you for viewing the virtual
    2022 Lay Members' Exhibition.

    We hope to see you next year!

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