In Concert Catalogue

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The exhibition, In Concert, curated by Mark Frith for
The Lettering and Commemorative Arts Trust
The Lettering & Commemorative Arts Trust (lcat)
Lettering Arts Centre, Snape Maltings, Suffolk ip17 1sp
+44 (0) 1728 688 393 | advice@letteringartstrust.org.uk
letteringartstrust.org.uk | memorialsbyartists.co.uk
A charitable company limited by guarantee in England & Wales no: 07936156
Registered Charity no: 1148638
© The Lettering & Commemorative Arts Trust, 2017
© The authors, texts and artworks, 2017 except where stated
All rights reserved
No part of this publication may be reproduced in any form without first seeking
permission from the copyright owners and the publisher:
Headings set in Cronos, text set in Adobe Garamond Pro
Calligraphy on cover / exhibition identity by Rosella Garavaglia | calligraphy-london.co.uk
Art direction / graphic design by Charlie Behrens | studio-behrens.com
End paper photographs: Inside The Snape Maltings concert hall.
Photographs by Matt Jolly reproduced by kind permission of Snape Maltings.
page 8: Alan Kitching’s letterpress type for his piece in the Orchestra of Letters exhibition.
pages 72-3: Orchestra of Letters exhibition at The Lettering Arts Trust
Cover printed on Fedrigoni E20 Denim 290 gsm (FSC certified)
Text printed on Edixion Offset 150 gsm (FSC certified)
Printed on a waterless litho printing press
powered by 100% renewable energy
This product is Carbon Neutral
Printed by Anglia Print Ltd, Beccles, Suffolk
ISBN 978-0-9957689-0-1

CONTENTS
Foreword By Dame Judi Dench ch dbe ............................................ 8
Music & Letters In Concert by Mark Frith ....................................10
The Exhibition ..............................................................................12
Rosella Garavaglia .......................................................................14
Penny Price ...................................................................................16
Louise Tiplady ...............................................................................18
Mary Noble ..................................................................................20
Annet Stirling ..............................................................................22
Stephen Raw .................................................................................24
Keiko Shimoda ..............................................................................26
Christopher Elsey .........................................................................28
Charlie Behrens ...........................................................................30
Harry Brockway ...........................................................................32
Shaun Bradley ..............................................................................34
Will Hill ......................................................................................36
Emi Gordon ..................................................................................38
Sally Castle ..................................................................................40
Gillian Hazeldine ........................................................................42
Janet Jeffreys ................................................................................44
John Neilson .................................................................................46
Geoffrey Winston .........................................................................48
Michael Rust ................................................................................50
Trev Clarke ..................................................................................52
Karina Thompson ..........................................................................54
Pip Hall ........................................................................................56
Ken Wilson ...................................................................................58
Teucer Wilson ..............................................................................60
Ayako Furuno ...............................................................................62
Celia Kilner .................................................................................64
Ann Bowen ...................................................................................66
Peter Furlonger ...........................................................................68
Afterword by Sarah Harrison .......................................................70
Acknowledgements .......................................................................74
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FOREWORD
I have admired and supported the work of The Lettering Arts Trust for many
years and am thrilled to see it flourishing within the creative campus of Snape
Maltings, which has been its home since 2013. I am delighted to write an introduction
to this powerful exhibition to mark the Golden Jubilee of the arrival of music
at Snape Maltings. Bringing together the arts of music and lettering within the
walls of the concert hall offers a perfect celebration of the very special endeavours
of the Snape Maltings site today and the 50th anniversary of the Snape Maltings
Concert Hall.
The title “In Concert” encapsulates the mission of this collection - to provide a
showcase of the skills of the best contemporary artists each offering their individual
response to the power of music and in particular the power of the live performance.
The results of these artists’ endeavours inspire us and encourage us to view anew the
music which lies behind them. The remarkable range of forms and styles in this
display is testament to music’s ability to move us.
Some of the world’s most skilled musical practitioners have inspired audiences at
Snape Maltings for the last 5o years. Just as a performance by the most talented
musician can change our reaction to a piece of music, so the works of the skilled
lettering artist on show in this exhibition seem to resonate with and enhance the
meaning of the text, to give it a new voice.
I would like to pay tribute to the work that the Lettering Arts Trust does to enable
these precious skills to continue to thrive in today’s pixel-dominated age. Its education
programme ensures that ancient skills continue to inspire and move us. These
skills have been handed down through the generations. They cannot be achieved
at the push of a button, but have to be laboriously practised and refined. Just as
music speaks to us across the generations, so does the finely wrought letter, whether
carved, written or printed.
Dame Judi Dench ch dbe
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MUSIC &
LETTERING
IN CONCERT
At first the phrase ‘In Concert’ may invoke the spirit of a live performance,
but it also reflects the arrangements, union and precision that are so apparent in
both of the arts of music and lettering. The approaches in the composition and
design of their creation rely on how to bring the initial idea to the fore through
expression. There is a wonderful array of choices to wrestle with. In my field of
lettering and carving, I may consider, as would a musician, the tone, volume and
space that may best suit the composition along with the feeling I wish the final piece
to evoke. There is a certain amount of trial and error, initial ideas fill all of our
sketchbooks, and I find some evolve, some rest for future reference and some are
simply best not mentioned! It is an intriguing time for both artist and composer as
we filter these ideas and struggle with their formulation. I cannot deny sometimes
the process can be quite fraught!
Once this initial seed is planted, the exciting development of choice of instruments
or materials and tools of our trades, begin to actually lend a physical structure and
shape to the random nature of our initial ideas. Suddenly we have a sense of the
mood for the piece, so beautifully expressed in Italian musical terms, such as agitato,
con spirito, dolce, and maestoso to name but a few. Lettering artists can express the
nature of their ideas through choice of letterforms drawn, penned and painted, to
convey and reflect the mood of their piece. Furthermore the material and the tools
combine to produce a strong or light letter, whilst the depth of the carving or the
use of colour will also be an integral part of the composition.
These definitions maybe considered part of the rehearsal leading up to a live performance,
and I can hear the question being asked ‘Do lettering artists work in terms
of a live performance?’ To which the answer is most definitely yes. In creating the
final piece the concentration of artists and musicians are both focused in the tempo
and fluency of the execution of their arts. They will be mindful of their accuracy
amongst the momentum and flow within the work. The hand to eye co-ordination
is almost sub-conscious, whilst engrossed in the shape and tone that each digit requests
as we move amongst them to create the whole. The concentration is almost
meditative, the breath consistent, alongside the energy of flow known as ‘Chi’, in
Chinese culture and throughout Asia. These are integral to the approach as one
summons the awareness to make a deliberate mark with fluidity.
This will be experienced by musicians and lettering artists alike, and we are also
share the similar experience, in that more often than not, we are playing live. The
performance is done in a single take even when working within the privacy of our
own studios, whether we carve or scribe, there is little room for mistakes – not to
be out of rhythm or to produce a poor note. At the end there is the exhilaration of
the completion of the piece.
Lettering artists also occasionally encounter the stage, in passing on the knowledge
of our skills and adding to the debate. Many of these leading lettering artists involved
in the exhibition will give talks and lectures on their respective subjects and interests,
they may also demonstrate their skills in public, or tutor and mentor students. Again
the delivery is fluent and of a passion shared.
When I was first asked to curate the ‘Orchestra of Letters’ exhibition, the subject
matter of music and lettering was so enticing that the response from artists was
exceptional. Snape Maltings has kindly made it possible to create this sister exhibition,
‘In Concert’ within the wonderful setting of concert hall. There was a full
house of participants almost immediately, which has led to a festival of new work
created especially for both events to celebrate the relationship of music and lettering
in the 50th anniversary year of the building of the concert hall at Snape Maltings.
I have a huge thank you to express to all the artists involved, for their absolute
dedication in time and effort in creating their pieces for the exhibitions and the
integrity in their approach to the subject matter. I would also like to thank the
Lettering Arts Trust, Snape Maltings, Charlie Behrens and Rosella Garavaglia in
the production of the exhibitions.
Everyone will have experienced their own exertions along the way in creating these
exhibitions, and the wonderful the landscape of Snape Maltings seems to go hand
in hand with the energy and struggle of the creativity within the arts. The huge
Suffolk skylines and vistas of infinite reed meadows, which sway and audibly rustle
in the breeze along the River Alde, add a sense of exposure to the elements of our
natural world. The ‘Orchestra of Letters’, has now led to ‘In Concert’ and the curtain
rises on a festival of lettering of these new works.
Mark Frith
Exhibition Curator
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Friday 8 th September to
Friday 22 nd December 2017
Snape Maltings Gallery
EXHIBITION
An exhibition of new work presented by
the Lettering Arts Trust, celebrating the
50th anniversary of the opening of the
Snape Maltings Concert Hall
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ROSELLA
GARAVAGLIA
I was very inspired by the symphonic work of Alexander Nikolayevich Scriabin
(1872-1915), an eccentric Russian composer, virtuoso pianist and mystic whose
philosophical vision was to transform the world through Art. In his experience,
different sounds stimulated the perception of different colours, a phenomenon that
had a huge influence on his music and most notably his composition ‘Prometheus
- Poem of Fire’. In Greek mythology Prometheus was the rebel who fought Zeus on
behalf of humanity and brought fire to earth, and for this he was cruelly punished
by the gods. Scriabin saw in Prometheus’ fire the symbol of human consciousness
and creative energy. He attempted to express it musically but not simply as a “symphony
of sound” but a “symphony of colour rays.” He invented a new instrument,
a “colour-keyboard”–that would project light of different colours corresponding to
the different notes on a screen behind the orchestra, reproducing visually what the
orchestra was playing.
In my own work, the music I am listening to often influences my mark making, the
quality of the line and the choice of colours I use. In this piece I have tried to do
this while listening to Scriabin’s Poem of Fire music, especially with colours and
the movement of the line. I used Byron’s words to symbolise the 5 lines of the staff
on which the letters of the quotation are dancing like notes. I used fire, namely a
torch, to fuse the different layers of wax on a watercolour and gesso background,
and an encaustic stylus to draw music notations with molten wax. The heat has in
some places distorted the lines and words, a side effect of fire which I decided to
embrace, all in the spirit of Prometheus, the fire-bringer and source of
mankind’s creativity.
Prometheus
watercolours, pigmented inks and encaustic wax
on 3 wood panels
640 x 330 mm
Background text: Extract from ‘Prometheus’, poem by
Lord George Gordon Byron (1788-1824)
poetryfoundation.org
‘Music is the soul of language’ quotation: Max Heindel
(1865-1919) QuoteHD.com
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PENNY
PRICE
This calligraphic piece was inspired by thinking about
how the rhythms of music that I listen to could be
portrayed on paper, without using the convention of music
notation. It is almost like picking up the sound waves when
listening to the music, pen in hand. This particular piece
emerged through listening to Mendelssohn’s Violin
Concerto. As with music, calligraphy too has its own
rhythms. A lot of the language is common to both music
and calligraphy – regular and irregular rhythm, speed,
loudness and softness, crescendo and expression. In this
piece I hear and imagine the players working together under
their conductor to perform the concerto. With my pen I
echo the music on paper, in a calligraphic performance, a
one-off concerto, so no second chances. I am on stage too.
Concerto no.1
sumi ink on hot pressed watercolour paper, metal nibs
400 x 250 mm
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Last year I observed a murmuration of Starlings at Snape
Maltings. I was struck by the rhythm of their movement and felt a
strong connection to the flow of music. It made me reflect on my
own work as an artist and how I often aim to give my lettered
pieces flow and rhythm.
Prior to experiencing the power and energy of starlings, my original
idea was to have birds sitting on overhead cables representing note
positions within the stave. However, I felt that would have been
very static and this piece needed movement, flow with a real sense
that something ‘live’ was happening.
As a lettering artist, I am fascinated by the visual display of
musical language.
This musical notation is for me a type of musical lettering, which is
why I wanted to bring this to my work. My love of carving birds,
the experience of the murmuration and the connection I felt it had
to music provided the perfect inspiration for this piece.
I have collaborated with Caroline Southard, a flautist, who has
improvised a piece of music in response to watching and listening
to the murmuration of Starlings, which she then notated to
manuscript. I have chosen to carve a direct representation of
her manuscript.
I decided to place the starlings close together, carving in deep relief,
to convey the density and movement of the flock. Hopefully this
makes the birds feel somewhat overwhelming to the onlooker, as
they swarm over the delicate notes. The musical notation and
lettering, is also intended to depict the ebb and flow; the live, yet
gracefully flowing nature of the murmuration.
LOUISE TIPLADY
Murmuration
402 x 697 mm x 45-22mm
Blue / grey slate (salvaged snooker table slate, very probably Welsh)
with relief carving and hand cut inscribed musical manuscript.
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MARY
NOBLE
I have a much-loved recording of
Janet Baker singing Sea Pictures, which
immediately came to mind when this
project was broached, so I dug it out
and played it over and over. Then I
looked at lots of images of Snape
Maltings, somewhere I’ve never visited
but always wanted to, because of Britten.
As far as I know, Janet Baker hasn’t sung
Sea Pictures at Snape!
The loving and joyous extract I chose
from the final poem in the piece, comes
between two stormy passages, so I selected
it because it fitted with the images
of Snape I found on the internet; the
‘sheen’ and ‘glamour’ is all there. I devised
a loopy script to evoke the ‘babble
and prattle’ for all the main text and
contrasted it with the freer brush writing
round the diamond, perhaps as
a hint of the storms in the rest of
the stanzas.
When I devised the diamond I was
hooked on the idea of fitting Roman
capitals within it, because of their affinity
to squares, so I layered the word
LOVE four times then sealed it with
acrylic gesso which is a bit thin to allow
show-through, but just enough opacity
to enable a layer of writing on top. I
love how Gesso takes pencil. The four
small squares repeat the Love theme
and have more layers of silver and
gold acrylic.
I resisted temptations to be any more
illustrative than to have a landscape
layout, preferring to focus on the words,
which Janet Baker’s wonderful interpretation
so inspires.
Sheen of Silver and Glamour of Gold
Sumi ink, acrylics and acrylic Gesso, gouache.
Pointed & edged brushes, Speedball pens, on BFK Rives
550 x 360 mm approx
Words by Adam Lyndsay Gordon (1833-1870) from The Swimmer,
as set to music by Edward Elgar in his SEA PICTURES Opus 37.
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Whilst I was designing my piece for
the Orchestra of Letters exhibition
(‘Variation on a theme’) which is on at
the Lettering Arts Centre nearby, I laid
out the music lines and thought how
beautiful they were and that they reminded
me of Agnes Martin’s ‘untitled
#10’ which I love.
I wondered if I could make a simple
version of the other piece without the
music/lettering notation. Then the opportunity
came to take part in this ‘In
Concert’ exhibition and gave me my
chance to try out this idea - so here it
is. The only notations are rests...
The green slate is rather sympathetically
marked and adds to the serene feeling.
However, though the green slate may
look lovely, its quality is variable and I
did find I could not get the same definition
in the carving that I had got in
the original – grey slate – piece.
I reused and slightly adapted the text
border of the other piece as again I felt
I needed a frame to enclose the centre
and also – to be honest – I could not
bring myself to make a piece without
lettering. I treated the words, by Guy
de Maupassant, differently. Where I
v-carved them on the other piece on
this one I texture carved the spaces between
the letters.
The title of course somewhat cheekily
refers to the Simon and Garfunkel classic
‘the sound of silence’, although John
Cage’s 4’33” also comes to mind!
ANNET
STIRLING
The Sound Of Silence (Variation On A Theme 2)
‘V’ incised Cumbrian green slate
405 x 405 x 13 mm
extract from Guy de Maupassant
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STEPHEN
RAW
My school chum, Bruce, was mad keen on Britten’s music – it was not long before
I too began a life-long passion for the composer’s work. In those heady days of the
1960s we went to Aldeburgh from south London when we could. Later, as an art
student in Wimbledon, and proud owner of a mini van (price tag £49), we would
get to Snape more often. Once we heard Peter Pears, accompanied by Britten, sing
this Blake song - the first time I had ever heard these words. We even got to speak
to Pears afterwards! Since then it has always been impossible to separate the poetry
from the music - it is in my head as I read or recall it: an example of how the aural
can fuse with the visible. When the ‘In Concert’ exhibition call went out it was an
immediate response from me to start working on Blake’s pithy eight lines. As ‘The
Sick Rose’ is so well known I have been relaxed as to how the lines break and have
instead approached the poem as a whole piece. The majority of my time is invested
in doing numerous pencil drawings of the layout. The application of the latex resist
(the masking fluid) is painstaking work using my large light-box to trace my final
layout. It is an unforgiving material. In contrast the watercolour painting has to be
quick and uninterrupted. The way my chosen colours will work together is unfailingly
a scary, unpredictable and surprising process.
The Sick Rose
O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
watercolour, gouache and masking fluid on Arches Aquarelle
450 x 650 mm
extract from Songs of Experience by William Blake
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I like music but I’m not crazy about it. I don’t know much
about their technical terms, musician’s, composer’s or conductor’s
names. I don’t analyse or examine them. But I do like music and I
do enjoy it. When you hear a good music, I get something similar
to that vivid feeling when you look at the real, excellent art and
craft, including calligraphy.
When I listen to the recorded music, I often prefer simply
constructed music, played by a single piano, for example. I enjoy
the sounds and notes, occasionally with images and colour, coming
down from the above. And they often land on me.
I am a Japanese. I started to learn Japanese calligraphy when I was
quite small. Writing Japanese and western alphabet is a different
matter, but as a tool, brush is natural to me, always my easiest and
first choice.
In here, I tried to recreate those rare moments when I can feel the
sounds, when I am relaxed, daydreaming and happy. And that
fresh feelings often come back to me when I write letters. Quite
rarely but sometimes. And that is the one of the biggest reasons I
do calligraphy, in Japanese and in the Western alphabet.
Born in Japan, I learnt Japanese calligraphy from 1980s, and then
started Western alphabet calligraphy in 1995.
That, if I then had waked after long sleep,
Will make me sleep again. And then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me, that when I waked
I cried to dream again.
KEIKO SHIMODA
Voices
brush lettering with white gouache on
GF Smith Colorplan paper 310 x 600 mm
extract by William Shakespeare
The Tempest Act 3, Scene 2
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CHRISTOPHER
ELSEY
Within in all the arts, the joy and fulfilment gained by learning a skill, is
something to cherish . This quote by Johannes Brahms, reflects what many of us
feel when craftsmanship is subverted, by concept devoid of skill.
“Without craftsmanship
inspiration is a mere reed
shaken in the wind.”
— J. Brahms
The quote also seemed so apt to the environment of Snape Maltings with the campus
of musical excellence and education accompanied by the beauty of the reed marshes
along the river estuary.
A Note on Skill
Welsh slate: letters hand drawn and engraved
with metal scriber, painted off-white
236 x 236 mm
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This piece was going to be about earworms (or “stuck song
syndrome”) — those catchy songs that race around the brain
whether one likes it or not.
The day after the Grenfell Tower disaster, I found myself trying to
work on this idea whilst thinking, “this is entirely meaningless.” It
became clear that the piece needed to be a form of protest instead.
My anger spreads far wider than the specifics of the institutionalised
negligence and greed at the heart of the Grenfell disaster.
The list of reasons to take to the streets seems to get longer every
day: ever-increasing wealth inequality; (hard) Brexit; hate crimes
perpetuated by xenophobia in the press; swingeing cuts to the
NHS and other public services; a desperately sleazy deal with the
borderline-extremist DUP; full government support of Trump’s
recent bombing of a Syria already decimated by civil war; refugees
held indefinitely in privately-run detention “centres”, given no
indication as to when their incarceration may end.
In the spirit of multiple reasons to be well-and-truly fed up with
the state of play, this piece comprises a selection of protest songs
from 1964 to 2017 which have been overlaid to create a typographic
cacophony of disgruntled voices. The process was experimental,
with multiple versions being loosely thrown together in
the print room to create a broadly varied edition.
Any profits from sales of this edition will be donated to Room to Heal, a charity
which supports refugees and asylum seekers who have experienced torture and
human rights abuses.
Resist
CHARLIE BEHRENS
detail | screen print on Cairn recycled stock
edition of [to follow]
640 x 420 mm
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I was discussing possible ideas for my contribution to this exhibition with my
old friend, letter cutter and music lover Phil Murdin. Phil produced from an old
sketchbook an idea he had many years ago to cut in stone this line from ‘Peter
Grimes’ – a project that was never realised. The line is sung by Peter, as if thinking aloud.
The line resonated with me as I think it may for many, as it reflects a feeling that
there are times in our lives when we wish we had done things differently or taken
another path.
I love the music of Benjamin Britten. The words he chooses are obviously very
important in his works, but I feel the authors of those words are sometimes not
given the credit they deserve. I wanted to take this opportunity to point out the
contribution that Montagu Slater made to this great opera.
The print includes the stars and herring shoal, spoken of by Peter Grimes, but the
subject of the print is regret and resignation. The poetry of the line comes from the
skill of the librettist. I don’t think the line would work half as well if the words
‘Skies’ and ‘Back’ were placed the other way around.
HARRY
BROCKWAY
Who Can Turn Skies Back and Begin Again
woodcut
355 x 300 mm
Text from PETER GRIMES!
Words by Montagu Slater from George Crabbe’s poem.
© 1945 by Boosey & Hawkes Music Publishers Ltd.
Reproduced by permission of
Boosey & Hawkes Music Publishers Ltd.
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SHAUN
BRADLEY
Puccini’s opera, ‘Tosca’, has to be one of the world’s most popular of the
Italian repertoire. It is an opera which I have seen a few times and have listened
to its recordings many times. So it ranks highly amongst my favourites. It is an
opera which has featured at Snape many times and has been performed once
again in this year’s programme.
During the opera Tosca laments upon her predicament at what appears to be her
hopeless situation and she sings the famous aria, ‘Vissi d’arte, vissi d’amore’ or ‘I
lived for art, I lived for love’.
It’s a sentiment which I think many are able to relate to and one which I dare to
speculate was close to Britten’s ideology if we are to consider his artistic output.
To me it expresses the frustrations of life brought about when difficult choices
must be made between these two great passions particularly when the two appear
to be inextricably linked.
I wanted to carve these words as a reminder of those choices. I believe this
problem to be an eternal one, a difficulty endured by man’s conscience since time
immemorial and one which will continue in perpetuity. For this reason I decided
to make the piece look something of the antique, as if it had been an ancient
message, torn down and valueless as new ideas supersede, broken over time and
used as building rubble, to be rediscovered and given life again. An
archaeological message.
The choice of marble and the lettering style of the Trajan letterform, and the red
tint to the letters is an homage to our Roman antecedents to whom, in part, we
owe our western letter carving tradition.
Vissi d’arte…
Purbeck marble
approx. 480 x 400 x 40 mm
Tosca by Giacomo Puccini,
Libretto by Luigi Illicia and
Giuseppe Giacosa.
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This ae This nighte, ae nighte, this ae nighte this ae nighte
Every nighte and alle
Fire and Fire fleet and and fleet candle-lighte
candle-lighte
When When thou from thou hence from away hence art away past art past
Every nighte and alle
To Whinny-Muir To Whinny-Muir thou com'st thou com'st at last at last
If ever If thou ever gavest thou gavest hosen and hosen shoen and shoen
Every nighte and alle
Sit thee Sit down thee and down put and them put on them on
If hosen If hosen and shoen and thou shoen ne'er thou gav'st ne'er nane gav'st nane
Every nighte and alle
The whinnes The whinnes sall prick sall thee prick to thee bare to bane the bare bane;
From From Whinny-muir Whinny-muir when thou when mayst thou pass mayst pass
Every nighte and alle
To Brig To o' Brig Dread o' Dread thou com'st thou com'st at last at last
From From Brig o' Brig Dread o' Dread when thou when mayst thou pass mayst pass
Every nighte and alle
To Purgatory To Purgatory fire thou fire com'st thou at com'st last at last
If ever If thou ever gavest thou gavest meat or meat drinkor drink
Every nighte and alle
The The fire fire sall sall never never make make thee shrink thee shrink
If meat If or meat drink or thou drink ne'er thou gavst ne'er nane gav'st nane
Every nighte and alle
The fire The will fire burn will thee burn to thee bare to the banebare bane
This ae This nighte, ae nighte, this ae nighte this ae nighte
Every nighte and alle
Fire and Fire fleet and and fleet candle-lighte
candle-lighte
This is a typographic setting of the Lyke Wake Dirge, a14thcentury
funeral-chant originating in Cleveland, North Yorkshire,
where it was sung during the traditional watch at the side of the
corpse (lyke).
Benjamin Britten created a new musical arrangment as part of his in
1943 Serenade for Tenor, Horn and Strings, and later in his 1952
Cantata on Old English Texts. It was also adopted in the folk music
revival of the 50s and 60s, and I think that I would have first heard
the version recorded by Buffy Sainte-Marie in 1967, before
becoming more familiar with the Pentangle recording from 1969.
The dirge recounts the stages of the soul’s journey earth to
purgatory. Though it makes reference to Christianity, much of the
symbolism is thought to be of pagan origin.
The letterforms are derived from vernacular lettering from
headstones in both Cleveland and Suffolk: the primary birthplace of
the song, and the site of its re-interpretation by Britten. The chorus
text uses the idiom described by Bartram as ‘Primitive’: a subtractive
raised letter, which I have reconstructed from a variety of sources
including a remembered example at Gisborough Priory in North
Yorkshire. The verses are set ‘polyphonically’ in multiple lines of
overlaid fonts – derived from letters found at churches around Snape
and Aldeburgh – to suggest the interweaving of distinct voices into
a whole.
Music and typography share a concern for rhythmic structure and
patterns of fixed interval. These ideas, along with an ongoing
fascination with letters as resonant cultural artefacts, shaped the
development of the print.
Lyke Wake Dirge
digital print using custom fonts
290 x 420 mm
edition of 20
WILL HILL
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EMI
GORDON
Ombra Mai Fù is one of my favourite arias. It is written in Italian.
“There never was shade of plant so dear and friendly and sweet”*
Xerxes, the King of Persia is lying under a tree and enjoying the shade of it.
I wanted to try to create the context of the music visually, especially the feeling of
happiness. I chose a piece of green slate which, due to its inconsistent texture, is
not well suited to cutting small letters and fine lines and so gave mea very hard
time. Despite this dis-advantage of using green slate, I love the colour of “green”
which is a quite obvious representation of plants. For the lettering, I examined the
Caslon typeface which was created by William Caslon I (c.1692-1766) who lived
around the same time as Handel. The shape of the lettering on this piece was very
much inspired by the typeface.
* Translated by Derek Yeld, from the CD brochure
OMBRA MAI FÙ sung by Andreas Scholl. Published by
Harmonia Mundi 1999
Ombra Mai Fù
Green slate (Broughton Moor),
gilding and painting
300 x 300 x 20mm
extract from Aria from Xerxes by G. F. Handel.
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SALLY
CASTLE
I was reading The Songlines and realised that there was a link
(if somewhat tenuous!) to the brief, through the aspect of World
Music which is included in the Snape Proms. Songlines are the
invisible pathways that cover Australia, blessed by Aborigines to
mark ancestral and personal territory. My piece of counted thread
work is inspired by that concept; it is in the form of a maze of
pathways reading ‘music is a memory’ and encompassing the
word bank.
I had recently been looking at embroidered samplers which record
the maker’s heritage with names and dates in cross stitched lettering.
Diagrams for these alphabets are shown in grid patterns which
are strangely similar to the more modern pixel fonts designed for
low resolution.
Thinking about differing visual representations of heritage, my
design evolved into a maze of letters reminiscent of QR codes
which are themselves modern pathway to banks of information.
Producing a piece of crosshatch needlework is a total departure
from my normal response to a brief. I discovered that it can be a
quiet reflective activity, but this was only after a false start when
rather a lot of stitches had to be unpicked: according to cross stitch
instruction books all the bottom stitches should face one way with
all the top stitches facing the other way, as mine do now!
Music is a Memory Bank
Cross stitch
200 x 200 mm (framed)
“Music is a memory bank for finding one’s way about the
world” The quotation is from Arkady in Bruce Chatwin’s The
Songlines ch21 (1987 Jonathan Cape Ltd).
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The Pity of War
Painted letters on six paper and tissue-covered MDF blocks.
325 x 560 mm
The music that inspired this work is Benjamin Britten’s War
Requiem, which was commissioned to mark the consecration of
the new Coventry cathedral. It is an immensely powerful piece
that puts together the Latin Mass for the Dead with the war
poetry of Wilfred Owen, who was himself killed in action just one
week before the Armistice. I have previously used all the words
Britten set in book form, but for this work I have used the the
preface Owen wrote to his poems, which Britten used to preface
his score, along with a line from the poem Futility, ‘Was it for this
the clay grew tall’.
I wanted the piece to reflect the starkness of the words, so I have
used five separate blocks, reminiscent of headstones and a letterform
based on an ‘O’ which I came to realise is coffinshaped.
For the line from the poem on the sixth block I have changed the
form to be lighter and softer, so that the ‘voice’ is different.
I encountered quite a few design problems that I had not anticipated
in making this work, not least that as the letters have a slight
forward slope, the lines that I have made vertical needed also to be
on that slope, rather than parallel to the edge of the block. I only
discovered that having painted the second block, so the writing
had to be washed off and the block re-covered and painted again.
The brief for this exhibition was Lettering and Music. I didn’t set
out to do a war protest piece as I have in fact occasionally been
uncomfortable with lettering used as a protest, for instance, ‘Not
in My Name’ for the Iraq war, but this work has seemed to take on
a life of its own and it is now some way from my original concept.
I hope it speaks for itself and if you have never heard the War
Requiem, I recommend that you listen to it. It is extraordinary.
GILLIAN HAZELDINE
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JANET JEFFREYS
My calligraphic aim is to express the meaning of the
words with form, line and colour, usually with the broad edged
pen, but also with pencils. Writing calligraphically gives me the
greatest pleasure, it is the contact of the pen on the support and
the patterns, positive and negative that fascinate.
The two short quotes that I have chosen to work with epitomise
my response to music and art; and music as art. This can be
taken as a superficial statement, but can also be a focus for
some other possibilities. Music is surely an Art, and perhaps
music also decorates space as well as time?
Art is how we Decorate Space
and Music is how we Decorate Time
Gouache on BFK Rives
310 x 410 mm
Author unknown
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JOHN
NEILSON
The Latin text translates as ‘with
smooth unevenness, with discordant
concord’, and is part of a description of
the playing of traditional music which
Giraldus used in both his Topography
of Ireland and Description of Wales.
The stone, a piece of Thala Beige limestone
from Tunisia, was left over from
a lettercarving workshop I taught in
Byblos, Lebanon, last year.
Giraldus on music
Thala Beige limestone
200 x 200 x 20 mm
adapted extract from Topographia Hibernia by
Giraldus Cambrensis (Gerald of Wales), 1188 AD.
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GEOFFREY
WINSTON
Invited to contribute a work to the ‘In Concert’ exhibition at the Lettering
Arts Trust on the theme of ‘Lettering and Music’, I began to think about concerts
and gigs I’d attended, some of which have turned out to be landmark events – such
as David Bowie’s final Ziggy Stardust concert at Hammersmith and Duke Ellington’s
70th Birthday concert at Manchester’s Free Trade Hall, the definitive concert recorded
to mark the septegenarian’s celebration.
The throw-away tickets and documentation which I’ve kept have survived, creased
and crumpled in some cases, to take on unintended, long-term associations. The
vital information was carried by the lettering, often set up by typesetters at jobbing
printers, on others printed out from a template on an electronic cash register and
on others hand-written – the medium at one with the message. The text on those
ephemeral slips of paper constitutes tangible links with the performances, prompting
recollections or re-imaginings of those events, or supporting other collateral which
may exist, such as photos or recordings.
These retained tickets and other ephemera have become the subject of a series of
prints, entitled ‘Ephemera’. The project has expanded to include some art exhibition
and music event documentation, and continues to grow. The first in the series is
‘Ziggy’s Last Stand’, as this was the ticket that came to mind when I first considered
the invitation brief.
The images are achieved through adaptations of high-resolution scans and photographs.
The series is defined by consistency in print size and layout, with individual
treatments varying depending on the subject. The only quasi-narrative element is a
title given to each print, rendered using rubber stamp lettering, an element which
is integrated in to each print.
Ziggy’s Last Stand
Pigment-based inks on Hahnemühle paper
60 x 40cm
edition of 40
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This wood cut is one of a limited edition of 25 prints evolved
from a mixture of watercolour and traditional oil based inks. The
fusion of the different media results in each print being unique
in the luminosity and colour variation of the background
creating a vibrant and dynamic celebration of the art of music
skilfully blended with the art of the visual creator.
The landscape of the Alde river together with the natural flora
and wild life of the area surrounding Snape Maltings and its
amazing historical connection with the work and music of
Benjamin Britten and Peter Pears is the inspiration for this piece.
The wind in the reeds, the joy of music in all its forms, melding
with the song of the birds as they rise together towards Heaven.
The watercolour background was rapidly painted onto acid free
Fabriano paper made in the little town of that name in Italy
(hence the Italian performance directions!) from the second half
of the 13th century onwards and became the most important
paper mill in Europe. The impossibility of exact reproduction
means that no one print will be the same as the next.
The risky art of carving was carried out on no less than six wood
blocks for the printing process, each passing through my small
press having been hand inked with its own mix of colours.
MICHAEL RUST
Only with the pass of the last block can I be sure of having
achieved the desired result. Tension and risk is evident at every
stage; but what FUN!
Snape Reeds Trio – In Concert
Mixed media wood cut print on Fabriano
Rosaspina 220 gsm paper
460 x 635 mm approx
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TREV
CLARKE
It’s always difficult trying to find ideas that resonate with me, but
researching the connection between Aldeburgh Music and Benjamin
Britten led me to the Seven Sonnets of Michelangelo. It seemed a good place to
start for someone with more than a passing interest in creative expression in stone.
The line/fragment that stood out came from sonnet XV. I found these few words
provocative from my point of view as a maker, and so my piece is to an extent a
challenge to them.
I find the creative process both conceptual and physical: for me, whether in music
or in stone, the physical activity of making and the realization of an idea go hand
in hand, rather than the making following the idea.
Britten’s Seven Sonnets of Michelangelo became the seed for this piece, and my
own musing, interests and values have formed the resulting piece of work.
Fragment & Labour
detail | magnesium limestone with oak easel
1200 x 500 x 75 mm
A single line taken from Sonnet XV by Michelangelo
published by Fyfield Books, Carcanet Press
Will have a permissions included, awaiting confirmation.
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KARINA
THOMPSON
These two pieces are part of a series
made for the ‘Well said’ exhibition for
the Royal Shakespeare Company in
2016.* This exhibition paired artists
with writers, directors and other creatives
that have worked with the company
to produce work in response to
their favourite Shakespearian quote.
I was paired with composer Isobel
Waller-Bridge who chose Caliban’s
speech from the Tempest. I understood
why she would have chosen a passage
with the phrase “a thousand twangling
instruments will hum about mine ears”
whilst I personally was struck by the end
of the passage about clouds and sleep.
I use digital embroidery to make my
work. I programme the stitchery in a
software programme called Premier+
and then stitch it out on a Pfaff embroidery
machine. It’s a process similar to
producing a silk screen; once you have
the image processed you can reproduce
it and play with it endlessly. The music
score are excerpts from Isobel’s
own compositions.
“A thousand twangling instruments”
Rayon and metallic threads on polyester or silk,
mounted over foamcore.
345 x 360 mm
Estract from William Shakespeare’s The Tempest
“The clouds methought”
Rayon and metallic threads on polyester or silk,
mounted over foamcore.
345 x 360 mm
Estract from William Shakespeare’s The Tempest
*Curators note: I felt it important to invite Karina to participate in this exhibition, although the previous collaboration
of these pieces are from the ‘Well Said’ exhibition. They relate to the theme of ‘In Concert’ so well and I thought
the possibilities of this new medium are important to bring forward to public attention. – Mark Frith
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PIP
HALL
Concord and time, each needeth each
The ripest fruit hangs where not one but only two can reach.
The words are by William Plomer, from the Choral Dances in Britten’s opera
Gloriana. I first experienced the thrill of Britten’s music, singing his songs in my
school madrigal group. There was a meaning to be found in the relationship between
music and words: the rhythms and harmonies, modulations and canonic playfulness
were a revelation and unlike anything else I had sung. These words in particular,
carried by Britten’s music, continue to resonate with me; the felicitous expression
of the rewards of co-operation is an enduringly uplifting message.
The two notions of time here, for me, echo the Greeks’ understanding of kronos as
measured time, and kairos as being in a state of harmony, inducing a sense of timelessness.
This duality is what I am interested in exploring, in giving the poem visual
expression. The letterforms and their layout are a reflection of what I feel are the
fertile theme and buoyant spirit of the song.
Concord and Time
detail | V-cut, painted lettering in French
limestone
two panels, each 600 x 375 x 25 mm
Libretto to Gloriana by William Plomer © 1954
Hawkes & Son (London) Ltd.
Reproduced by permission of Boosey and Hawkes
Music Publishers Ltd.
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KEN
WILSON
Can it really be twenty years...?
Late March 1997, and I, along with a hundred and more of my fellow singers
have shuffled, silent and demure, onto the stage at Snape Maltings. I am a little
apprehensive. Perhaps more than a little: being the new boy in the tenor
section the adrenaline tingle has not yet become a welcome familiar. It is the
first half of an evening concert and we are to perform David Bedford’s ‘Twelve
Hours of Sunset.’
Bedford’s piece is based on a song by Roy Harper (1974), for which he had also
written the atmospheric orchestral arrangement. Harper’s original conjures a
late evening flight travelling west. As the aircraft follows the setting sun at
approaching 600 mph, time is apparently suspended at this northerly latitude.
The effect of altitude removing all sense of speed, Harper’s song floats in a
transcendant timelessness; a kind of ecstacy.
At just over five minutes long, Harper convincingly sustains this transient
sensation whereas Bedford’s ‘rhapsody’ on his theme runs to 34, making some
form of ‘narrative’ development essential. Bedford achieves this by moving the
music through a dreamy dramatic arc from internal monologue towards a huge
and—for me—powerfully visual crescendo on the word ‘sunset’.
Where the two pieces absolutely coalesce is on the phrase ‘O how time flies’
(Harper’s song ends on these words). Both composers mark it with intensely
wistful melody and exquisite harmonics, reminding us of the power of
music to imbue even the most quotidean cliché with a new-minted
emotional charge.
A static medium like lettering can, like sculpture, create the effect of
movement in various ways, both graphic and formal, but beyond that, what
I’ve attempted to capture here is is the rhythm and shimmer of that
ravishing multi-part harmony as Crouch End Festival Chorus glided
serenely into it on that evening in 1997.
O How Time Flies
drawn in black ink, scanned and digitally coloured.
edition of 20. Signed and numbered.
Crouch End Festival Chorus / BBC Symphony Orchestra / Jac Van Steen
Twelve Hours of Sunset. NMC D049
Lyric reproduced by kind permission of Roy Harper.
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TEUCER
WILSON
When I was first approached to
submit my ideas for this exhibition, I
was excited to think about music and
its relationship with lettering. Like music,
calligraphy and the art of drawing
letterforms is very much about rhythm,
flow, composition, light and dark, and
counterpoint. The spaces between letters,
like the pauses between notes
in music, are as important as the
letters themselves.
I am a big fan of jazz, blues, world music
and folk music. I started to think about
the roots of folksong from Afro-
American work songs and field hollers,
through to blues, jazz and ultimately
to rock and roll and modern music. I
was drawn to one of my favourite songs
The Parting Glass, which I first heard
by Robin Williamson, and The Voice
Squad (the best version there is). The
song is a traditional Scottish ‘broadside’
(no not Adnams!) ballad. It was sung
often at the end of a gathering, a parting
song. It appears in Irish folk music, and
was even recorded by a local lad from
Framlingham called Ed Sheeran.
Next, I thought what am I going to
design here? What material shall I use?
I liked the idea of using something quite
modern and ‘cutting edge’ for this as it
contrasted with the old ‘folksy-wolksy’
vibe of the song. Using stainless steel
brought in the theme of reflection, of
seeing ourselves reflected in the piece,
contemplating our own relationship
with the words.
The design process was perhaps more
involved than you may imagine. I have
designed several true-type fonts that
can be typed out and used in my design
work. The first stage was to create a
layout that worked, and within the 500
x 700mm format. I wanted the letters
to be knitted together to create a sense
of rhythm and texture. Next, all the
letters were converted into a single vector
layer or series of digital paths. These
are then tweaked for what seems like
an eternity, rounding off junctions and
generally trying to make a more abstract
design while not completely distorting
the shapes and rendering it an
illegible shambles.
The Parting Glass
laser cut stainless steel
500 x 700 mm
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AYAKO
FURUNO
When I heard that the subject of ‘In Concert’ was to be the relationship
between lettering and music, Britten’s Death in Venice immediately came to
mind as I had recently visited the city. I began by familiarising myself with the
Opera and discovered that the refrain ‘Serenissima’, a name for the Republic of
Venice, is invoked repeatedly throughout the work. I also chose the word as it has
a particularly lyrical quality that I wanted to capture visually.
The letterforms were designed primarily with soundwaves in mind. I had difficulty
picturing this in stone, the material I usually work with, but Tom (Young)
suggested I use glass. This allowed the letters to be made of light and hopefully
more closely approximate the intangible quality of music.
This then led to the question of ‘how?’ which opened up a series of experiments
and discoveries. The techniques I tried, using flashed glass, included sandblasting,
etching with acid and a dremel. Numerous shards of glass later, the simplest
method proved to be the closest to what I had envisaged: my drawing, printed
onto vinyl, applied onto a clear glass panel. Serendipitously, this could also be
seen as a type of GOBO (Goes Before Optics). This is a type of stencil that is
placed in front of a light source to create shapes, often in the context of stage
lighting. The final piece is therefore the result of a series of accidents and hopefully
the start of some new ones.
Serenissima
Vinyl, glass and oak
450 x 70 x 165 mm
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CELIA
KILNER
The sentiment of this quotation just touches my heart somehow:
it seems a sort of truism, to me at any rate and I very much like the
quotation (by I know not whom) ‘music is to the soul what words are to
the mind’. I have used this particular Tagore quote before, but in a
completely different way. Sometimes, I find, one hasn’t finished with a
quotation and it can be used over and over again in different media, with
a different style, different arrangement, different colouring etc. and then
the same quotation seems to have another sort of emphasis.
The World Speaks to Me in Pictures
Welsh slate
445mm x 245mm
extract by Rabindranath Tagore (1861 -1941)
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Plato said it best when he wrote that ‘Music gives a soul to the universe, wings
to the mind, flight to the imagination and life to everything’. With me the act of
beautiful writing is at one with the music. At first there is silence, only my ideas,
thoughts and imaginings are present. I make some tea and play my favourite music.
Bach, Jackson, Morricone, Taverner, Debussey, and Satie, The insistent inevitable
rhythms of Billie Jean fill my studio. A soul is given to my universe.
My colors are mixed, they wait ready for the pen. I dip. Long practiced movements
inform my sweeping hand and suddenly there are ribbons, swirls, long lines, piercing
the dark. The void is no more. The pen takes flight and dances as the steady beat
gives way to Satie’s Gymnopédies. The nib is pressed and released, it scratches satisfyingly,
notes of crimson, alizarin, azure, and orange take form. Like motes suspended
in air the shapes intertwine, collide and find each other.
The colour flows, coalesces. the ideas settle, the unformed now made tangible. Hand,
eye and heart unite. Will it work? It will, it won’t - the feeling that all will be nothing
is the tension that drives me on. The creative doubt increases, then the rhythm returns
and the sounds of Debussey cause the pen to dance. I watch as life is given
and ideas are made tangible with nib and gouache. Si lent music, music for the eye
is created where hand and mind play togeth er making calligraphic harmony. I fling
white pigment on the black paper, nebulae and galaxies form. Stillness, at first a
whisper begins to grows, the music quiets, the imagination now calm, the pen now
stilled. I stop and look. It is done.
ANN
BOWEN
Explosion of Letters
Gouache on Fabriano Ingres paper with
Japenese steel pens
325 x 325 mm
photograph by Michael Little
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PETER
FURLONGER
The Music Makers
mixed media: engraved, gilded, and painted;
the back-board is gouache.
660 mm x 270 mm
extract from Ode by Arthur O’Shaughnessy
Music has always been my main source of inspiration and
motivation throughout my creative life, and it has not been difficult
for me to view the subject from multiple perspectives, both emotional
and analytical. The structure is the product of a reflection on the
‘scientific’ nature of sound and how we receive it – sound-waves in
space. The ‘emotional’ dimension is articulated in the text, a poem by
O’Shaughnessy [1844-81] which has also inspired a composition by
Edward Elgar.
We are the music makers
And we are the dreamers of dreams
Yet we are the movers and shakers
Of the world forever, it seems
And every age is a dream that is dying
Or one that is coming to birth
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AFTERWORD
We are delighted that the Lettering Arts Trust can play our part in celebrating
the 50th anniversary of the Snape Maltings Concert Hall with this incredible
collection of work. ‘In Concert’ brings together the arts of music and lettering and
enables us all to explore how they inform, inspire and co-exist. Mark Frith, as curator,
has assembled a virtuoso performance from artists across the lettering arts, a rich
ensemble united by the theme of music.
The works are testament to the power of music and finely- wrought lettering to reach
across genres and through the generations. We congratulate Mark, who has woven
together the different techniques and disciplines into an inspiring concert of virtuoso
lettering. Together with the accompanying exhibition held in the Lettering Arts
Centre, ‘Orchestra of Letters’, the two collections represent an extraordinary body
of collective works.
‘In Concert’ gives a platform not only to the work of major artists, but also to younger
letterers, whose careers have been helped through the Lettering Arts Trust’s training
programme. Today’s age of the instant pixel enables us to share, ‘like’ and experience
in the disconnected virtual sphere. Yet it is reassuring that while the Lettering Arts
Trust embraces this digital culture it also marries contemporary craft practices with
longstanding historic traditions. The Lettering Arts Trust apprenticeship scheme
places a pupil in the studio of a Master letter carver for two years of personal and
intense training. The process of working and teaching side by side enables the skills
and principles to be passed on and reinterpreted. We ensure that Britain’s rich lettering
heritage can continue to inspire future generations, that the skills so evident
in this exhibition can be handed on to tomorrow’s artists. The Lettering Arts Trust
thanks all those Masters who have enabled these apprentices to take their place
within this rich tradition.
We are fortunate to work within this very special venue of Snape Maltings, the
creative campus that has been our home since 2013. A huge thank you to Roger
Wright and all his team for the enormous help and support they provide to us in so
many ways. I would also like to thank the team at the Lettering Arts Trust, Lynne
Alexander, Mary Carter Campbell, Lucy McDonnell and Natasha Sigal, who accomplish
so much. Of course without our patrons, donors, trusts and foundations
- who believe in our work and so generously support us – none of this would
be possible.
We continue to strive to make the Lettering Arts Centre a hub of excellence for the
lettering world. While our exhibitions explore the many facets of this art form, our
training programme enables the inexperienced and the practised to experiment,
expand and explore. Our commissioning service brings artists and public together
so that our homes, gardens, churchyards and public spaces continue to echo to the
music of the hand-designed letter.
Letters and musical notes are the abstract shapes by which we communicate through
text or music. The skills of the lettering artist are the alchemy by which those letters
are brought to life and given a voice. As Edward Johnston wrote “Our aim should
be, I think, to make letters live…that men themselves may have more life.”
Sarah Harrison
Executive Director
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[LCAT GALLERY IMAGE]
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ACKNOWLEDGEMENTS
The Lettering Arts Trust is an independent charitable organisation which
receives no public funding. We rely entirely upon the support of the individuals
and organisations who recognise and appreciate the Trust’s important objectives.
We are extremely grateful for the generosity of all our supporters.
TRUSTS, FOUNDATIONS AND ORGANISATIONS
The Amberstone Trust
A.P. Bartleet Trust
The Behrens Foundation
The Cocheme Charitable Trust
The Doric Charitable Trust
The Duke of Devonshire’s
Charitable Trust
The Finnis Scott Foundation
The Foyle Foundation
The Frederick Mulder
Charitable Trust
Garfield Weston Foundation
The Masons’ Livery Company
Marsh Christian Trust
The Monument Trust
NADFAS
PF Charitable Trust
The Prince of Wales’s Charitable
Foundation
The Radcliffe Trust
Scarfe Charitable Trust
The Tanner Trust
The Friends of The Lettering & Commemorative Arts Trust, including our
‘Friends for Life’: Graeme Cottam, Tim Elliott, Julian Francis, Sarah Greenall,
Karen and Alan Grieve, Richard Oldfield, Garth and Lucy Pollard, Margaret and
Chris Smart, Elaine and Robert Smyth, Lady Emma Tennant and the members
of the Friends’ Advisory Committee.
We’d also like to thank Cawston Press for their generosity with our events.
INDIVIDUAL SUPPORTERS
Ariane Bankes
Dame Judi Dench ch dbe
Julian Francis
Harriet Frazer mbe
...and other anonymous donors.
Christopher Hogg
Alan Kitching
Joanna Lumley obe frgs
Mark Noad
We would also like to thank the Trustees for all their hard work and for
generously volunteering so much of their time.
IN CONCERT EXHIBITION
In bringing this exhibition to fruition, we would like to thank our curator,
Mark Frith for his extensive hard work and good humour, our graphic designer,
Charlie Behrens for his creative design for this catalogue and accompanying
exhibition materials and Rosella Garavaglia for her inspiring logo.
We would also like to express our particular thanks to Roger Wright and all his
team at Snape Maltings for their unfailing support, help and encouragement.
Our thanks also to the following for their assistance:
Faber Music Ltd.
Boosey & Hawkes Ltd.
One more acknowledgement to follow here
Britten-Pears Foundation and
their help through Ella Roberts
and Dr. Nicholas Clark
PATRONS
Gyles Brandreth
Christopher Gibbs
Mirabel Cecil
Jonathan Dimbleby
Dr. Esther de Waal
Maggi Hambling cbe
Joanna Lumley obe frgs
Patricia Lovett mbe
Dr. Andrew Norman
Baroness Neuberger dbe
Libby Purves obe
EXTERNAL LINKS
Many of the exhibiting artists are Hon. Fellows, Fellows and Members of the
following artists’ associations:
Letter Exchange
letterexchange.org
Calligraphy and
Lettering Arts Society
clas.co.uk
Society of Scribes and Illuminators
calligraphyonline.org
International Society of
Typographic Designers
istd.org.uk
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