Volume 17–1 (Low Res).pdf

or most of us, our first experience with the alphabet
was pure pleasure. Each time we chanted it correctly,
we won a round of applause from the grownups.
A few years later, the fun was over. We had
to labor with pencil or crayon to form the letters to
some teacher's satisfaction. The alphabet became
just a tool. Like the forks and spoons that had to be
managed in order to eat properly, we had to learn to
manipulate the alphabet so we could read and write.
It's still the same today. Not too many children enjoy
letterforms for their wondrous lines, curves, shapes
and spaces. But then, not too many children grow
up to be Jan Baker.
Jan traces her fascination with abstract forms
and letters back to her early childhood. She recalls
how the abstract symbols in her first doll's quilt
entranced her; especially when, with a blink of her
eyes, she could magically interchange the negative
and positive shapes. Some years later, when she was
allowed to choose a spread for her own bed, she
unhesitatingly selected one with an alphabet design.
With such an early sensitivity to abstract shapes and
letters, it's not surprising that as an art student, she
gravitated toward calligraphy, typography, printing
and book design. In fact, almost every project she
puts her hand to involves letters and words — not
just the hand-bound books, but also bowls, patchwork
quilts, hand-knit sweaters and art works, too.
beyond serifs, swashes and strokes
She makes it clear though that her preoccupation
with letters goes beyond the pleasure she finds in
them esthetically. She is awed by the power of the
alphabet; just a handful of characters that enable us
to compose thousands of words and express every
human idea and emotion.
In a number of projects she has deliberately intermingled
letterforms of diverse languages. An
accordion-fold book, for instance, contains an
alphabet composed of Roman, Greek, Hebrew,
Japanese, Phoenician, Hindi and computer characters,
among others. In other works, foreign words
and English words peacefully co-exist, suggesting
the possibility of a universal language that would
make international communication and understanding
a reality.
0 Universal Alphabet book,
composed of letters from diverse
alphabets, unfolds into a 3-dimensional
screen. 30" x 60:' Photo:
White Light Corp.
0 Paper bowls, with calligraphic
detail, inspired by Japanese
paper fans, lanterns and screens.
Photo: David Colvin.
3-Dimensional Paper
Collage, crafted of handmade
paper, letterpress and hand sewing,
in collaboration with typographer
Luci Gbodman. 20"x
Photo: David Colvin.