Why ‘LIGNWORK ?

Writers are encouraged to, firstly, write for themselves. Writing captures and solidifies and commits to a thought. Gives substance to ideas.

So I will try to explain the history behind ‘LIGNWORK.

In 1974, I worked for a graphic designer in Oak Park, Charles Markman. Mr. Markman and I found each other through my friend, Jeannie Zay. He saw in me a bit of talent and drive to produce; I saw in him a massive amount of experience and an enviable stability and contentment. He educated me through new projects. You know those big yellow barrels lined up at freeway exits? Well, I illustrated a Christmas card for the inventor of those things. I got a lot of paste-up work, a few illustrations and a few calligraphy projects. I was good at – and loved – line work.

About the same time, God was tugging at my heart to come along side Him. Shored up and aligned with His purpose. Men and women want to know their purpose in life; but what about understanding His purpose? So, back there some 40 years ago, I stepped into a progressive agreement to align my life with God’s. Hence, lign. The overlapping ‘lign over line, ‘lign upon line, ‘lign under line has to do spiritually with position and adjustment as well as practical markings and tools.

Enough of this meditation, and on to the work of the day…

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Donald Jackson Lecture

Donald Jackson spoke at The Getty in Santa Monica on Wednesday night.

What suffering to get there!  But so worth it. (I understand why they’ve nicknamed Interstate 405 “CARmageddon”. Enough said.)

I had a peek at the Klimpt exhibit – enough to make me want to get my pencils out again. The first room of graphite, charcoal and white chalk portraits were exquisite. Absolutely stunning draughtsmanship. The rest of Klimpt’s pencil line work was for sketching purpose. I had to leave as the exhibit was closing for the day, and went into the Lecture Hall.

Donald Jackson is inspiring and entertaining. He’s not much of a lecturer, he’s an illustrator and a calligrapher and an art director. Not called upon often to speak, but very charming, and fumbles to express himself sincerely. Very human.

He spoke about the St. Johns Bible. Its intention, its production, its spontaneity, its relevance. Even its owner: you who read.

This was very cool: he hand picked 4 calligraphers, not because they were the best, but because they worked well as a quartet. They yielded to one another’s strokes. “We’ll all make the g’s descender this way, and the dots this way…” Their hands (letterforms) had to look like one hand (letterform). The two other illustrators Jackson chose, besides doing many himself, because they are also seasoned calligraphers. Extremely creative. Thomas Ingmire and Suzanne Moore. (Their work – outside of the Bible – was shown in Portland, as me, back in July. I, who am no one! What an honor to hang in the same room!)

Donald Jackson speaks.  http://www.youtube.com/watch?v=BK9oCX5lBLQ