…alas, and I read all the books
Fragment of a poem by Mallarmé realized on a page of a dictionary (the book par excellence).
And, to be a little in my era, I calligraphed these verses with a palette pen by reinterpreting a typeface, the COURIER NEW whose spaces are somettimes bad and which still are in my interpretation.
The whole was calligraphied in Payne’s grey and, for decoration, a little bit of watercolor with some white and ultramarine blue.
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.
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.
My version of Genesis, in computer language (php) and in colors (as in my code editor), with the result displayed.
First, connect to server caelum (the sky) with username Moyses and password rubusarderet (burning bush) to access the database genesis.
If the connection fails, the system displays a fragment of an epigram of Martial: There is no god, the sky is empty.
Otherwise, we look for Genesis images and display them in ascending order.
If this step fails, a fragment of the Vulgate text will be displayed: terra est inanis et vacua.
The text and symbols are inspired by NEULAND with the introduction of uncial forms of abbreviations and ligatures.
Then there are the images, in iron gall ink, of the different days:
separation of light and darkness
separation of upper and lower waters
separation of land and water and creation of plants
creation of the moon, the sun and the stars
creation of birds and fish
creation of animals and man
rest
