Laya Point Permaculture 2016–The Second Calligraphy Course: English and Catalan notarial scripts of the XIII Century

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Here we are, back in the lush Lake District, carrying on with our plan to offer historical scripts in a cool, green location in high Summer.Classful strip
Such lovely light in the classroom. Perfect for writing– unless you are easily distracted by the antics of sheep outside your window…
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Keith conserves demonstration paper and makes interesting overall effects by flipping them up and writing in a different colour. Pretty. But the student must pay careful attention.
two demos up n down
Here is one of those two-way demonstration sheets in both orientations–each with the “other” colour filtred out. This is the corsiva anglicana minuscule. Those encircled ks are actually ws!
A small but rich class, we are: Ralph Dennison, father of Tom, who is Keith’s godson & the guiding genius of Laya Point Permaculture, this idyllic locale for a calligraphic “retreat” in the delicious Duddon Valley…;
Liz Goyder from last year, back for a second course; Ralph’s genuinely lovely sister, Sandra Dennison, coming along for a taste of calligraphy; Susie Jones bringing her project already projected in draft form; Peter Stanley, putting out metaphorical fires & sometimes joined by his (equally genuinely) lovely wife Anne; and Miquel Centellas, another recidivist, back after last year’s success on the course & his own intervening success with his Design Degree in Barcelona…
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below: part of a page from Tàrrega, Catalonia (left) and one of Miquel’s studies…
TwoScripts
& after studying & copying the script, we must have a look at the decorated initials. There is plenty of variety in the decoration, but far too little in the letters to be seen: too many such documents begin with a very limited number of capital letters–they tend to start “We…” followed by a ruler’s name and territories. So looking at an “N” and using its inventory of decorative elements to fashion a different letter can be a useful skill:
LP2016 versal strip-Recovered
–simple elements, recombined to decorate letters not found already elaborated in the documents: N, for example, with its shaft and bow re-organised to make an L–

Liz n
Here is Liz in her preferred, well-lit corner, back again this year despite her difficulties last year with her dear cat Annie who suffered a serious accident that really limited Liz’s participation in the course. This year, Annie was fine, & Liz undertook a more complex project which will (I think) lead to a whole series of works.
classroom panorama
There seem to be few moments when everyone is in their seat at the same time. I.e., not here. The ever-present availability of cups of tea can be distracting–or a much needed opportunity for perspective.
Sandra & Susie cups of tea
Cups of tea? Sandra and Susie, converse in more of the spectacular study space of Laya Point. Calligraphers need to stand up, move about, and drink tea! Also to discuss their design and layout questions, their ideas about colour, inks, pens…
Sandra & Susie
above: Sandra and Susie at work. Sandra exploring BIG writing with a bassoon reed on a long roll of paper; Susie adding delicate decorative plant motifs to her project.
Pete n K EGG
Pete is fascinated by Keith demonstrating the preparation of egg tempera with a very fresh egg from Laya Point’s own hens (a new addition since last year’s fabled duck-egg glair making).
Ralph n Sandra
The Dennison siblings–Ralph, the squire of Laya Point, and his sister Sandra–two left-handed Dennisons in the same generation. Lovely to see them together, and writing. Sad that Sandra couldn’t stay for the whole week. Next year, we hope.
work in progress
above: Works in progress. Ralph’s trial versals, some sketches and drafts for Susie’s magum opus about her friend’s allotment, Miquel’s skillful studies of the notarial documents from the Archive of the County of Urgell (Els Privilegis de Tàrrega), a detail from Susie’s final project in progress, then; hard to see: Liz’s expertly ruled lines for her major work about quinces with the tree delicately pencilled in, Pete’s illuminated interlace initial with metallic “gold” paint. The scriptorium had some intense moments.
below: Pete and Miquel. Miquel, like Liz, was present at the first Laya Point calligraphy course in 2015. He returned, now with his Graphic Design degree from Bau (the University of Vic’s Design Department in Barcelona).
Pete and Miquel were lodged in the famously spacious cottage up the hill, which Miquel enjoyed sharing last year with an Englishwoman and a Scotswoman (see last year’s post)–this year he drew an Englishman. There they are, listening attentively to Keith’s presentations, arriving from the cottage on one of the damper mornings, & intently busy with their projects.
Pete n Miquel team
Let us not overlook the delicious vegetarian luncheons prepared by Rosie often with the permaculture-grown produce from just outside the doors…
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Pete didn’t hold out for the final exhibition–his is a one-man show. Susie, Ralph, Miquel & Liz managed to have work exhibited on the final day…
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Ladies & gentlemen, I don’t have a good, reproducible image of any of these works alone except Ralph’s. I’m sure it would look better shown in company. If you can send me a reasonably focussed photo of yours, I’d be very happy to include a close-up gallery here.
Jeeka n Eric
I’ll leave you with Jeeka & Eric (her guest) relaxing indoors…Mia-the-pussycat declined to be photographed this summer–perhaps she was out monitoring the ducks & chickens.
Next summer, we are planning to offer two courses at Laya Point: one on Spanish and English Italic Scripts, and another on Catalan & English Modernist/Art nouveau Lettering.
Who will be coming along? You, o reader?
TarregaBorder

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Summer at Saint-Antoine 2015, Part II–Celtic

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Always, always the abbatiale presiding over the Community, the village, & the courses. (Françoise Sellier? Cette photo est à toi?)
Now celtique–insular scripts and decoration. The styles of the Book of Kells, Lindisfarne, Saint-Gatien, Mulling, Echternach, and many others.
2016Celtic SalleBlance strip
Here we are French, Spanish, Catalan, Turkish, are you Australian now, Maria?–what other nationalities should I be mentioning? From true beginners to professional designers.
& always the lovely light-filled Salle Blanche of Saint-Antoine with its views to inspire us.

Celt minus strip aKeith is quite capable of teaching celtic scripts, but I cannot think of a single exhibition piece he has done…he’ll remind me. So this class was left to my ministrations. Gathering in groups, examining everything we have managed to bring along…Keith showing his portfolio of unframed work and work-in-progress in the centre…

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Look at the source manuscripts, learn the forms, work on rhythmical exercises, interpret texts, develop modern and individual variations.
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Except for Kells (above left) the work & the photos above are Maria Montès’s.
Yes, Keith needs to branch out, so that all the celtic presentation is not up to me–the photos become a bit repetitive:
A demo strip
So, is everyone here? Xavi Vaqué, Evelyne Long, Antoine Alouani… Antoine (again)… Christiane Soufflet…Françoise Dabireau…Jacinthe TrosJoaquín GraciaCarol van WaartMagalie Audion, Dominique Augier…Françoise Sellier, Marisa Lacarta, Almila Yildirim, Maria Montès…Françoise S. (again)…Almila (again)…Anaïs Tessier-Charel…Nadine Martello (& me)…

student block
& then projects & trial exercises here below:…Xavi’s knotted R. I no longer know who has done what, so whose “Ara es aquí” is this? Carol? I know “Winter is coming” is Carol’s! & “Au temps jadis” is Christiane’s. The key pattern is Carol’s certainly; & “Il était une fois” is Jacinthe’s very elegant and professional work. “Les buissons” is Françoise Sellier’s…

Expo block 1
Here below…help me, please! Whose knots? Whose MA? Almila’s major mythical tale I can attribute, of course. Whose elegant VA from Kells? Xpi & other noms sacrés? The Australian Graphic Design Association is clearly Maria’s. The zoomorphic initials & spiral I believe are Françoise S.’s again…

Expo strip 2
Now…are these excerpts from Kells Marisa’s? Marisa? as they flank Maria’s Quick brown fox…”Gratitude” is Anaïs’s I believe, playing with watercolour effects. Then I am lost a bit…This wonderful cartouche, what does it say? What I think I see is “LALTERMONDIALIST” but I think I may be wrong? Please, whose is this? & the next row?
Expo strip 3
& these exercises? “JESUS”? “ANDRÉ”? A very nice heart-shaped knot! I think “IL EST” is Antoine’s. Antoine? I think this “FRANÇOISE” must be Françoise Dabireau’s? Whose knot?
Expo 4
Then Maria’s draft & “First Things First”…

Marias FirstThingsFirst hierres w draft
The crowd at the end-of-course exhibition, almost blocking the show itself. & Maria’s “Thank-you”…
Exhibition
& let’s just look back (or ahead…Summer is Coming!) at the food, dining in the garden….
dining strip
yes…Summer 2016? Have a look here: Keith7Amanda

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Summer at Saint-Antoine 2015, Part I — Italique

StA2015 I stripAs an introduction to calligraphy, we believe that Italic and Carolingian are the best (but not necessarily the easiest) scripts to begin with. In the days when there were still stages called “Deuxième Niveau“, having attended one session each of Italic and of Carolingian was the prerequisite for attendance at a week of Deuxième Niveau…
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This italic class quickly developed a personality–the wild mix of 8-9 français (depending how you count), three espagnols, three catalans, one allemande, a turque, an Englishman and a Dutchman…
Voilà–above, Keith consulting with Maria (a Catalan, admittedly, but an Australian resident Catalan…)…flanked by David and Beatriz with Christiane at the table’s end; Sonia (hidden in the next row), Eduardo & Martí consulting each other, Almila; Anne-Marie (hidden), Albert, Petra & Blandine; Camille, Christophe, Ingrid & Laia (hidden); Catherine (fetching a cup of tea?) & Christine.Demostrip KeithPresenting italic minuscules, simply…and in their place in the long, decorative Histoire de l’Écriture lecture (traces at right) which Keith gives once a year, open to everyone, not just the calligraphy students.
Every Italic course is a little different. One thing we concentrated on this summer was Arrighi’s professional script, looking at enlargements for details of his ductus, spacing, ligatures, &c.Italic MS stripThis summer’s class reached the limit of eighteen students (well, we are two teachers). Anne-Marie, Camille, Sonia & Eduardo watching Keith, Almilla (really: keep looking. I think we must get some drawing boards as I am seeing some terrible posture here…) Jacinthe & Blandine (who escaped being photographed writing, gazing intently at Keith’s demonstration), Catherine & Christine, Maria & David, Christiane & Catherine, Ingrid & Laia (posture! posture!), Martí & Almila, Beatriz, Albert & Petra, Christophe… why do I want everyone to have several links? I like the blue and purple words among the text. (Dear students: If you have a link you’d like included, please let me know!)
student blocPetra came with a special interest in quill-cutting, but sadly no one got close enough with their cameras to show any detail. I shall get out a small tripod and do a photo-essay on quill cutting. Soon.
QuillcuttingstripNo. I haven’t yet cut the lovely swan quill I received from Mabel at the Laya Point course in July. I think everyone who wanted one got a working quill this week–if you didn’t, please say so! And many thanks to Blandine who brought a bundle of feathers–admittedly some already slightly cut and inky, but perfectly re-cuttable. Merci!
STOP PRESS!
Planning to hit “Publish” in just a few hours, now; when suddenly Albert has sent an e-mail with links to his splendid Flickr Album about the course which includes some short video clips of quill-curing in hot sand. He has rashly said “…use them for your website…”–I fear he meant Keith, and not  this  website, but until he tells me otherwise, here’s a little more visual information on quill-cutting:
quillcutting strip& a lovely photo of Keith writing with a quill for Petra:
K and Petra quillIf only he’d got a little further with the writing. Still. (Albert has a separate photo-essay on the village and abbey of Saint-Antoine-l’Abbaye.) Thank-you, Albert!
We were reminded that a quill is not a commercial biro with a guarantee to write the first time, every time, and to keep working for months with no maintenance. A look at a few portraits of the Evangelists (famous scribes, portrayed by scribes) reminds us that quite often at least one of them is shown examining, re-cutting or otherwise fiddling with his quill. So: plan on spending a quarter of your writing time in the delicate refinement of your writing tool:
Scribes & quills-4 evangelistsOnce you have your quill cut, or your “normal” metal pen echauffée & dipped in your brou de noix, it’s time for exercises. Most of these are Maria’s because while I was helping students, she was wisely and professionally taking photos. Possibly the only photos not ©Maria Montes 2015 (used by her kind permission Gràcies, Maria!) are those Maria is in. Which were taken by me…until or unless youtrès chers élèves send me your photos! I’m sure you have some! Please? Credit will be gleefully given, I promise!
exercise strip

As usual, Keith shows work in his portfolio. Not a portfolio in the usual sense; but pieces in progress he travels with and carries on working on on the road. An unusual opportunity for participants in our courses to see work “in the flesh” (sometimes literally–work on skin) and in progress; not only in the form of projected digital images (Anyone: is there a new quick monosyllabic word to replace “slides”, “dias”, &c.? I’ve missed it so far.) ☜

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& then he presented the making of “coca-cola pens”–in our case, more often made with beer cans…K metal pen stripfor visual effects beyond Arrighi’s aesthetic….Maria’s “run” & Sonia’s “Nueva Orleans”…
beercanpensLet us not forget the obligatory reminder of the excellent food.
2015 foodstripSalads, cheese, fruit…pizza! Made by Andrea, a genuine Italian, this summer! Wonderful!
We did not fail to address the basic structures of Italic Majuscules, despite the vagueness of Arrighi’s own counsel…
Demostrip AmandaIt’s always good to remember what the letter IS that underlies those wild (overly elaborated?) Renaissance flourishes. Then hours of working on projects, a few downpours, leading to the end-of-stage supper being indoors, in the celebrated Salle Blanche itself…
Ital supper 2015
italic supper
and the culminating exhibition:
Ital 2015 expo kraftStA Ital 2015 white stripNah, too little is visible in general views. Let’s see what we can really see–those Maria & I managed to shoot in focus, while there was still some light:
Eduardo:                                    Sonia:                                             Camille (aged 11):
Eduardo Sonia Camille Petra:                                           Almila:                                           Ingrid:
PetAlmInga few details–Maria:     Laia:                               Maria:                           Laia:
expo detalls MariaLaiaLaia, I don’t have an in-focus image of your Arrighi facsimile looked at straight on–please send me one?
Maria:                                             Beatriz (Brava!):                      Laia:
another stripHere are, in the top row: Sonia & Ingrid (I think? please correct me if I’ve got it wrong!); middle row: Ingrid & Christiane; last row: Almila & Catherine:
horitz block 1Christophe:                               Martí:                                                 Christophe:
another strip 1
Anne-Marie (Brava!):                Laia:                                               whose is this?
another strip 2 And again, horizontal work; in the top row: David & Maria; in the centre row–is that Ingrid? & Albert; and in the last row Petra & Ingrid (thanks, Albert & Ingrid).
Another blocPlease correct my misattributions! My ageing memory is fading fast.
No dogs or cats attended this course; but the “Mediévales” of the Village of Saint-Antoine l’Abbaye occurred during our session–I leave you with some members of the Communauté de l’Arche (de Lanza del Vasto) de Saint-Antoine-l’Abbaye and their children,  good citizens of their village and enthusiastic participants in its fêtes.
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Laya Point Permaculture 2015–The First Calligraphy Course: Catalan Carolingian Calligraphy

LayaPoint2015 strip 1 w ltrg Laya Point Permaculture is a richly beautiful smallholding in the English Lake District, a region celebrated for its luscious views, romantic landscapes and (surprise!) lakes. This summer for the first time we succumbed to the blandishments of Keith’s godson Tom Dennison, who is the guiding genius of Laya Point (along with Nicole Hermes [“Lala”] his right-hand woman executive and communer with vegetables) and rolled on North to offer a course of Catalan Carolingian Calligraphy in a space we had never seen. Now we have. The much-fêted Salle Blanche of Saint-Antoine-l’Abbaye may now see some competition for the title of Best Classroom in Europe for the Teaching of Calligraphy. You will have to experience both in order to judge. These windows in The Old School at Ulpha: Laya Point’s main classroom/meeting space,  might’ve been made for a modern scriptorium. LayaPt strip 2 luminous Head gardener & chef Lala prepared delicious lunches for us every day, and we were required to pick and eat as many strawberries as we possibly could. They wanted eating.LayaPoint foodstrip The full range of dedicated calligraphers… Laya Point student strip Liz Goyder, Susan McGahan, Miquel Centellas, Lillian Berry, Stephen Watts, Helen Cowan, Tom, Nicole, Mabel Little, Mia (who really did no calligraphy, but helped to keep us all cheerful), and Steffen Hirth, Laya Point’s Wwoofer (en route to University at Manchester). Mabel and Helen were lured to Laya Point, I believe, through their membership in Eden Valley Scribes. LayaPoint demostrip Sue, Miquel, Lillian, Lala and Liz surround Keith’s first day demonstration…days later, Mabel, Liz, Helen Miquel & Tom following my demonstration of various uses of pigments, ground on glass with a glass muller…assorted media–gum arabic, almond gum, egg, glair… Which paint (gouache? watercolour?) for which work, and so on ad infinitem. Or at least until they began to distract me with questions for a little break…and the fabled duck-egg glair, which took, I think, actually half an hour to beat with all of us sharing. Cennino Cennini never mentions duck eggs. Quill cutting was a major activity, but as I was doing it, I have no photos. Mabel? did you take many? Anyone? And of your beautiful machine? Also, more photos of Keith actually presenting the script on the non-blackboard?LayaPoint demostrip2 Keith shows us images of manuscripts from Eleventh Century Girona…a facsimile of one of his own manuscript books (this one on paper) with some pages in a modern Catalan Carolingian…& demonstrates aspects of these Catalan scripts.
We had a look at the possibilities of adapting some of the historical initials–especially the droll zoomorphic, or at least zoocephalous initials accompanying the Catalan carolingian… CatalanInitials adapted Applied, with modifications and additions…along with other historical and modern possibilities–some adaptations by Sue, Lillian, Mabel, Helen & Tom:StudentCaps Everyone had a chance to write on calfskin vellum with a quill and ferro-gallic ink and/or gouache pigment & duck-egg yolk or duck-egg glair, some people added a little shell gold. Some people wrote on both sides of the skin. (Have you any photos of the inked sides? I haven’t. I’d like to include some, please!) VellumstripNow my memory is failing me–the spiral text is Tom’s; “JOY” is Stephen’s; the Jeff Stone text is Lillian’s; I think (but you’ll correct me, won’t you?) that “When you know Nature…” is Mabel’s; that “power dwells apart…” is Sue’s; and that the Lao Tzu text is Helen’s. But I could be very mistaken. Apologies if I am wrong. That was the minuscule (but not in a paleographic sense) part of the end-of-course exhibition. Then along the wall, we have: LayaPoint expo longSome drafts of Stephen’s, Liz’s draft, projects by Sue, Mabel, Stephen, Helen, Lillian & Miquel. What about a closer look? Might the finished version from Liz’s draft look like this? Liz's Sue’s “Jerusalem” quotation looks clean and dignified with it’s long “J/I” in classic vermillion. Perhaps we were rather classic, all of us, but even six days to cover the basics of an historical script and its accompanying decoration along with appropriate tools and materials, and few excursions into modern calligraphic play (beer-tin pens!) takes time. Sue's Jerusalem A very elegant colophon and signature.
But look: Weeks later, Sue has continued working on the theme, and come up with a stunning new version:
Sue's New JerusalemMabel:
LayaPoint2015 Mabel's Diddon
If anyone has photos in better focus, I will happily replace mine! But we get the idea of Mabel’s presentation Wordsworth’s The River Duddon, as we were on the River Duddon… And she cleverly included the attribution, colophon and signature inside the initial. (I’d love an in-focus shot of that–presumably you still have it, Mabel, might you photograph it for us, please?Duddon rill 2 This little rill, right outside our panoramic window, runs into the Duddon only metres down the hill. Mabel was inspired! {Sorry, yes. It’s England: “…only yards down the hill.”} P1020348 One of  Stephen’s versions, I think with an ink from Jack C. Thompson, made with Catalan ilex galls we sent him. A paler, almost golden colour, that will nonetheless darken eventually. Stephen’s attribution and signature combined in a roundel…anyone have a better photo? This question is understood to be constantly repeated, for each work exhibited, please! And when we saw it on the wall, this version lacked it’s initial. Stephen stayed late and kept working: Here’s another version: P1020349 “Quiet minds…”, characteristically Scots, perhaps (?) from Helen, the red and blue not as clearly separate in the photo as “IRL”. I wish I had a photo of her draft letter with the colours reversed. (Helen? Could you send one?) I like to see the long and short esses (s, ſ –despite any ſ /f confusion. They don’t look much alike, surely.) Helen's Quietminds Lillian is going to include a source credit for her modern wolf–Laya Point, Ulpha, Duddon Valley…Ulpha, the place of the wolf. Please send me a photo when the colophon, &c. are added!Lillian's Winter
Miquel! With my apologies for earlier misattribution! Have you put the initial in? Please send me a better photo! (Obviously an idiotic lapse on my part as it’s the unique piece in Castilian!)
Miquel's project
And Tom’s Ozymandias didn’t even make it into the exhibition. He never stopped working on it (between being our host and organizer among other jobs). Leafing through available books and materials in the classroom, he found some examples of white vine decoration, and immediately began teaching himself. So we gave him a supplementary exemplar, and a little advice, and he went for gold–unhistorical white vine using three tones of red instead of the traditional three or four colours; and not shell gold (what would  that cost?) but “Iriodin”, an industrial “pigment” for metallic effects in textile printing. Mixed with gum arabic as a medium (or was it the duck-egg glair, Tom?) it made a nice non-traditional majuscule I for the text; with the colophon &c. curving up the margin…Tom's Ozymandias Excellent. I’m sure Lala (who, as our chef, was not available to sit in class for six hours a day) and Steffan (who had to look after the vegetables, the ducks, and run messages for the centre) will be returning to their pens, ink, drafts, &c. Perhaps you’ll send us some updates? IMG_1367 And at the end, me (Amanda) flanking Liz, Sue, Mabel, Stephen, Helen, Lillian, Miquel, & Tom, with Keith as the other bookend. (This photo, of course, is by Lala. We should’ve set up the tripod and got Steffen in, too. Next time.) Miquel, have I mis-attributed your projects, or were you hiding them? Send me photos, please! That’s the official end of the course. Before it began, however, Keith’s friend Ralph, the landlord? Landowner? Lord of the Smallholding? who is the father of Tom (who is co-incidentally Keith’s godson*–I mentioned this above, but you’ve had time to forget it) had asked Keith to do a wall (why does the word “mural” sound so pictorial?) at Laya Point. So while I began the re-consolidation of all our pens, paints, books, &c., to pack up; K finally attacked the interestingly piebald wall outside the door, in the porch, of the Old School building. And  produced this:
LayaPoint 2015 Mural view SMALL
(Keith can be seen inside, decompressing with Tom and Lala.) What is it like full on?
LayaPoint Mural full SMALL
Some details, the unprepared render(?)/cement(?) surface with its weathering, stains and dings offers a depth even before letters are added. I believe Nicole has a photo of just the underpainting (Lala? send it along?) which looked rather bare before the swirling Romans came along to animate it. I am envious of Keith’s freely painted Roman majuscules…
LayaPointwall x 4
& we look forward to seeing how it weathers in time, what patinas it gains; or whether it will fade or abrade and need palimpsesting (as one wall on fresh render did, in Paris).
Oops, I forgot “Jeeka” [Ma-gi-ca]…Mia you’ve seen before, disguised as a student… if only one or more of the ducks would waddle in and settle in the basket as well…what an idyll.
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Mesdames & messieurs, meine Damen und Herren, ladies & gentlemen, I await your comments, corrections, addenda, and additional photos? Or links to your own online albums, blogs, &c. Please share! We didn’t have a “proper” evaluation–I believe Lala is sending a questionnaire. I look forward to the results.
Summer at Saint-Antoine 2015, Week 1, Italique, starts Monday evening. Will we have changed mental languages? Il faut s’échauffer.

*This is how we were lured to offer a course in England, where neither of us have taught for thirty years or more.

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Summer at Saint-Antoine 2014 Part 2

P1000663Ah, dusk. Twilight, gloaming…crepuscular lighting. I haven’t found a time of day when Saint-Antoine is not photogenic.
Expressive majuscules…Beginning with looking at examples of simple capitals, and a variety of layouts…
P1000573P1000576Looking at some uncommon majuscule forms from manuscripts…
P1080258Everyone hard at work, Jacinthe
P1000633Magali…

P1000634Françoise…P1000640 Jean…P1000641David…P1000642 Marie-Claude…P1000644That’s not everyone. Joan and Anne escaped photographic documentation of their participation this week. But they can be seen in “Part I”.
& some views of their work, from the exhibition at the end of the course…
P1000650 P1000653 P1000664 Exhibition visitors…P1000666 P1000671 P1000672

PT2 PROJ strip
Saint-Antoine has been a part of younger daughter Caroline’s life since she was three (and before that, the Community of the Arche of Bonnecombe). So of course it’s where she and her American sister choose to get together whenever they can. Working in the vegetable gardens is more their thing than calligraphy.
P1000569P1000567Beautiful daughters, returning from a days work in the potato fields.
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Mesdames, messieurs — have you more photos to share? Send them along and I’ll add them here! Merci!

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Summer at Saint-Antoine 2014, Part I

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The view from the garden. Where does lunch come from? Skies, grass, water…
I know the titles of the Saint-Antoine posts are very dull, but they reflect continuity. Neither Saint-Antoine nor the classes are dull, though. Everyone is paying attention here, although Jean looks as though he might be reserving judgment.
P1000459 - Version 2 The subject is different–“Gothic” has so many variations.
StA 2014 Fraktur titleA bit rigid, but we have to start with the most basic elements.
Maybe all the photos look alike? But every summer, and every class is different – each dynamic is different. There are the  “best-beloved” students, to whom Mr Kipling might tell a story, and new students whose stories we don’t know yet.
Here we are trying to approach Gothique Fraktur – as so often, at the request of
P1000528Christiane Soufflet.
What will she ask for next?
Serious concentration on Keith’s demonstration, and the Catalans are recording it for posterity–or future study.
K demo strip 2014 i
Christiane R, Tatjana, Nicole, Anne; Marta, Christiane S, Marisa…Individual consultations and work on projects, in the luminous Salle Blanche:
Studentstrip2014 i copy
We try to have a half-day free in midweek (compensated for by evening audio/visual presentations) so that people from outside the area can do a little tourism (although there are always those who cannot tear themselves away from their écritoires). Interested parties can wander around the village which is beautiful, or pile into cars (sometimes borrow bicycles…) for a wider ramble. If you come all the way from Australia, the teachers might even take you on a secret cascade escapade…(it’s not that secret). It’s cold though.
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A couple of Saint-Antoine luncheons, flanking the end of course supper.  There is no shortage of delicious food. We always think we will be thinner when we leave, but so far it hasn’t happened. All those wonderful salads & crudités are irresistible. And the bread!
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More garden and views–there are even startling manifestations of nature in the classroom: see the mushrooms growing in the potted plant. Saint-Antoine is full of life!
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End of course exposition…it is impossible to get everyone to show up for group photos. Mireia, Marta…show off your work!
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Keith, Nicole, Joan, Mireia, Christiane, Marta, (me! who took this?), Claire, Marisa, another Christiane, Maria…who’s missing? Bénédicte, Jean, Fanny, Anne & Tatjana. A very poor turnout for a group photo, I’m afraid. Perhaps they’ve all already gone down to the pizzaria for a beer.
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You thought I was joking about the pizzaria? It’s pretty great!
Miscellaneous other photos…Please! Mesdames et messieurs, Senyores i senyors, Ladies & Gentlemen, send me your photos! I’ll be thrilled to include them here!
Nota Bene! a large number of these photos are from Maria Montes & Marta Cunillera–hot designers/photographers both! Colleagues in design, and Maria now works in Australia…
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just another piece of work…please, mesdames et messieurs, send me more!
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by Maria…

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Summer at Saint-Antoine 2013, Part II

 

P1010849L’abbatiale. Beautiful sunsets. Unusually not photographed from the frisbee field (actually le champ de foot). This week, all the best photos were taken by Anna Coll Marfagón.
IMG_2688Check in, wander into the luminous Salle Blanche…Luke attended both weeks last summer.
Luke Atkinson stayed for both weeks, so for a brief time between courses, he had the Salle Blanche almost all to himself, then:
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It began to fill up.
We were once semi-officially named ambassadeurs for the manuscripts of le Mont Saint-Michel by Jean-Luc Leservoisier, curator of the fonds ancien of the Municipal Library of Avranches, where the manuscripts written in the scriptorium of the monastery now reside. (Or are they somewhere in the “Scriptorial” – the new tourist information centre about the manuscripts and their production and conservation? Or are the at the Université de Caen, who are digitising the manuscripts?).
Fortunately we were able to see and study many of them when they were (perhaps) more accessible than they are now.
Each time we present a course on the particular Carolingian scripts used at Mont Saint-Michel, we try to focus on a different manuscript or style, so that people who choose to “repeat” a course will get something new from it.
LeftRightRight-handed or left-handed, everyone can do a respectable carolingian.
StA2013 II allLuke, Jacinth, Anne, Anne, Txus, Mireia, Anna, Françoise, Nadine
It’s not all serious concentration:
P1010949And it is necessary to eat….
EatAnd at the end of the week, show the work in an exhibition…P1020044projsI think here we have Txus Marcano, Luke Atkinson, whose “Littera Scripta Manet” is this?
Mesdames et messieurs – have you more and better photos of the exhibition pieces (I know there are many more pieces) – more and better photos of the whole experience?
Please share them with us! Come to the (Calligraphic portion of) Summer at Saint-Antoine 2014 – find us here.

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