Lay Members’ Exhibition 2023

Setting out any text “fully justified” (where the text is aligned along both
the left and the right hand margins) will always be a challenge where
compromise might be necessary with inter-letter and inter-word spacing
and the letter shapes themselves which might need to be either extended
or compressed to fit the alignment. All these challenges were met competently
and the text block has an overall cohesive and balanced look. The monoline
pencil letters are carefully executed in a pressure and release technique
which adds contrast to each letter and brings them to life. An attractive
flower and leaf border in watercolour pencils surrounds and holds the text.
And the little details in the form of golden dots and a golden peace dove
draw the eye like a magnet to the message and compliment the whole design.

These are two magnificent square cushions, one painted in Gothic Blackletter,
the other in Rustic Capitals. The lettering on each was applied with a flat brush
in lamp black gouache. Squares painted in gold and overstitched in black
embroidery thread help to frame and emphasise individual words and lines.
A single stitched embroidered line with one tiny gold square also embroidered,
in each corner, frames each block of lettering beautifully. Equally the white calico
beyond the lettering acts like a frame in itself and so does the fun gold pompom
braid trim around the edge of each cushion.Clearly a lot of thought has gone into
the design, layout and materials. But the lettering is the piece de resistance,
each script written with consummate skill and flair and doing so on fabric is
a real achievement. The little gold dots between each word on the Blackletter
cushion are both decorative and help with the reading. The two cushions sat
next to one another balance each other excellently and both draw the eye in,
in different ways which compliments their individuality.

It is only one sentence yet it reads like a poem! I love the centred vertical layout
with most often only one word per line. This makes every word count and the eye
glides down line by line, enjoying each word and being intrigued of what’s coming next.
The text block is compact yet it is light and so can breathe due to the graceful
sensitive and personal italic it is written in. The emphasised adjectives and the little
autumnal tree, perfectly placed just above the centre line, break up the text block
and add interest to it. A very sensitive approach and well thought through.

An impressive panel, attractively set out within a vibrant blue border which holds and frames
the design beautifully. The centre piece is the actual window drawn with technical pens and its
stone border edging in water colours makes it look very three dimensional and draws the eye in.
The Zodiac signs on both sides add colour and so bring the panel to life . Outlined carefully in
black and filled in with water colours, the colours are kept light and airy and so give a good impression
of what the actual stained glass roundels might look like in real life. The titles at the bottom are
well spaced and act as a base and support to the structure above. A small niggle, I would have
liked the thicks and thins of the larger title to be a bit more balanced overall. The trouble with titles
is that any kind of anomaly is much more noticeable. To my eye “Zodiac” could have been given
a bit more internal breathing space. But these are minor details and take nothing away from
a very balanced panel executed to a high standard.

These are very carefully executed and well proportioned built up versals in pencil.
Set out beautifully in a balanced centred layout there is lots to discover for the eye: the letters
which seem to be moving in and out due to their size differences and the darkened beginning
and ending strokes, as well as the darkened thickened curves. Its the pencil equivalent
of using a pressure and release technique and adds punch to each letter and to the text block
as a whole. A steaming cup of coffee at the top complements the humorous quote perfectly.
Both illustration and credit sit at the right distance from the text block. The only small concern
for me is the narrow margin below the credit.

An interesting and thoughtful rendition of John Lennon’s quote. It was
the gently flowering “Bush of the Imagination” which drew my eyes immediately.
Beautifully thought out and executed in its colour schemes and shape,
the red letters carefully placed in front of each pale green leaf, highlighted
by tiny dots of shell gold and cleverly interspersed tiny blue and red flowers
which not only separate each letter from the next but add more structure
to the bush at the same time. The credit is perfectly placed underneath
and centered by the clover leaf which acts like an anchor to the whole
of the centered layout.
But I so desperately want the “Bush of the Imagination” to grow and grow
so it balances out with the rather stark “Reality” at the top. Although softened
by the light blue diamond pattern behind. I feel both its size and choice of colour
are overpowering the whole design.

These are letters with big personalities, an imaginative alphabet
in a mixture of both upper and lower case. Each letter looks as if
it could be plucked from the page which gives the whole design
an almost three dimensional feel. The dark blue outlined letters
with the light blue squares behind them off set and balance
one another well yet they also intermingle with outlines and dots
around both. The playfully decorated squares with many different
designs add variety and fun. Tying all four columns together
is what looks like a variegated green carpet with spots dotted
here and there. There were no doubt hours of pure enjoyment
in this project.

It feels like I am looking at a picture where the lettering
is merely incidental, yet it is anything but, the single word “Heart”
holds the essence, it is literally the heart beat of the whole design.
The Heart which floats amidst clouds and flowers and birds maybe?
...the imagination is given free rein here which I personally
find appealing. A cloud in each corner acts to hold the centre cloud.
My preference would have been to move the middle cloud
upwards a bit to make it more centred on the page, but this
may have been a deliberate design choice. It works either way.

These flowing graceful symbols were so intriguing to look at
I had to ask the artist about their origins. “They are based
on Japanese linear seal designs from the Edo period” she told me.
I feel there is juxtaposition at play, a static formal layout
versus a gentle liveliness of the hole, created in part through
the spontaneously brushed on circles in various muted
colours, each of it’s own unique shape. The delicately coloured
background both enlivens and enhances the presence
of the personable symbols, static yet lively at the same time.
And in between, deliberately obscured blue symbols with
scribbled over pencil marks in the same colour, adding
texture and interest as do the regularly interspersed gold dots.
A very evocative piece of work.

What fun! These uncial letters with a modern twist just pop
off the page. The letter outlines are carefully brush drawn
in black ink and filled in with gouache. Some of the counter spaces
are filled with the same flat laid gouache but leaving a uniform
white line between between it and the letter outline. This allows
both the letter and the inset colour to “breathe” and acts
like an outline in itself, which makes for a clever design
feature. Two counter spaces at opposite ends are filled
with multi-colour designs who add to the overall contemporary
look while the animal heads to some letter beginning and
endings are a nod to history. A very balanced design and
with lots of detail to be discovered.

For some of us stones and pebbles provide an irresistible appeal
… their shapes and tactility, they just cry out to be felt and held.
And this little pebble has the perfect shape of a capital letter D.
A carefully outlined uncial d, quite an achievement on a 10p sized
stone and the sparkly gold infill makes the letter happily
pop off it’s quartzy surface. What a delightful little creature.

The artist made a careful study of the Anglo-Saxon square minuscule script based on
the Exeter Book. “Anglo-Saxon” refers both to the script and the language it was written in.
(The Exeter Book is a 10th-century anthology of poetry in Old English and is the foundation
volume of Exeter Cathedral Library). The Anglo-Saxon minuscules are crisp and written
with confidence and energy. The widely spaced lines have allowed for emphasis of long
descenders and ascenders which are an attractive feature of the script. This contrasts
very successfully with the secondary italic based script which is introduced between
the widely spaced lines. It has a distinct horizontal note to it emphasised by the extended
exit strokes of the letters h, m and n. Both scripts combined are a very compatible combination
and the colour choices of a warm brown and green make for an overall harmonious presence.
The streaky outlines and shape of a golden onion in the background are cleverly positioned
between the texts. Its form is distinct yet understated and the onion almost needs to be found
which is very apt for a riddle. A small suggestion: The placement of the title would look
more in keeping with the rest of the text if placed flush left and pushed up slightly to give it
a bit more space to the first line in Anglo-Saxon. The Answer at the bottom right I would just
push a bit to the left so it doesn’t stick out and ends underneath the last word in Anglo-Saxon.

An Italic that exudes confidence, flow and rhythm and is of
an absolute evenness in execution. The abundance of
swash serifs adds exuberance to the whole presentation,
with every single one skilfully executed and carefully considered
when looking at their differing height or length and/or direction.
The gentle weaving in and out of the lines adds movement
to the layout and gives each capital the space to shine.
Delicate white gouache decorations next to most capitals
draw the eye in and underline their lusciousness and beauty.
The credit in square capitals balances well with the text block
above and is spaced at just the right distance below. The missing
letter in Shakespeare’s name is only a tiny bit unfortunate.