Christmas is coming and I decided to redecorate the window of my workshop.
If you have windows or a shop window that you would like to decorate for the holidays, you can find my contacts on this page.
And if you want to see me in action, here is a video
A new composition with a NEULAND reworked on a text by Emile Zola proposed by my wife.
The writing was done with a piece of wood and watercolor (Payne gray), the decoration is inspired by the tiled backgrounds of the Gothic period with a line whose center is the O of glory at the penultimate line.
I used several blues and greys as well as gold leaf for the small decorative elements.
The paper is a mixture of hemp and linen with straw inclusions.
I would like to take this opportunity to remind you that I will be conducting an online course (in French) on NEULAND on December 12 & 13.
It’s been far too long since I’ve posted anything. Various contingencies have kept me away from my computer.
For my return, I am sharing a monogram that I made a few weeks ago but that I didn’t want to show until it had arrived in Australia, at its addressee’s home. It’s done and so here is Linda’s monogram, LCK, hand-made linen paper, gold leaf and, as far as colours are concerned, a mixture of Payne grey, Prussian blue and cobalt blue.
The circle of filigrees is about 8 centimetres in diameter.
On the 17th and 18th of October, I’ll teach a course on the second bible of Charles the Bald (writing and decoration) at the cultural centre of Welkenraed.
Originally planned for April of this year, it could not take place because of the pandemic.
There are still places available (with masks and distances) for fans.
So if you don’t want to be the one who doesn’t get the fries in the same package, contact the cultural centre quickly to register!
I can’t wait to go back to Belgium and eat those crispy fries, whatever the package 😉
A work for four hands and above all for two brains. My wife offered me this fragment of Zola’s Germinal. And we both worked on the composition, the writing, the colours.
Then, of course, once I had finished scribbling on the paper, she did the framing.
I am very happy with the result.
The writing is a 16th century humanistic, and I am happy to have gone back to an older type of decoration, the tiled background for the strip on the side.
Different dilutions of Payne’s grey and leaf gilding to bring the light.
It seems I can’t switch to another color lately.
And the stained-glass window I did a while ago made me want to go back to those patterns.
This time, I “invented” a small rosace, embossed and then filigreed.
The embossing is less elaborate, but it remains a small (8 cm in diameter) and pleasant realisation.
Fourth and last version of my fragment of Rainer Maria Rilke’s Sonnets to Orpheus that I was telling you about here.
The first inked version does not satisfy me so I changed for an intaglio lettering for the original version and a very small and elongated version for the French translation.
All this is done on watercolor paper, iron gall ink and Prussian blue.
