Interview
Do you draw out the design of complex letters before you begin?
Partly. Mediaeval letters usually have traditional patterns, which can be painted freehand. Outlines, however, have to be drawn.
What kind of paint is used?
Mostly gouache (in tubes). Sometimes ground pigments with gum, sometimes watercolours.
Do you work on a special type of paper?
I use different paper for different purposes. My preferences are vellum and handmade paper.
How long would a quill last?
A good quill can last almost indefinitely. I am using quills which were cut in the 1930s.
Are the inks special?
It is important that ink doesn’t run on the paper. I use Chinese stick ink (which I grind myself), liquid India ink and gouache paint.
Do you vary the style of lettering according to the piece of work?
Absolutely. I have knowledge of the whole history of lettering and can choose a style appropriate to the job in hand.
Does your work involve copying old texts?
Mine does, because I do a lot of work for Film Studios, who may want Greek on papyrus, Anglo-Saxon on vellum, or copperplate on antique paper etc.
Is calligraphy still used for legal and heraldic documents?
All Grants of Arms (from the College of Heralds) are written and illuminated by hand on vellum. Sadly lawyers appear to use a new-fangled device called a ‘word processor’!
What is the most difficult aspect of your work?
Trying to find a design that will please the client as well as myself.
For how many hours do you work on a normal day?
Approximately six.
What qualities do you need to have to succeed in this work?
Some artistic flair is certainly needed. Patience, a steady hand and real enthusiasm for this art form.
Is there any particular project on which you would like to work in the future?
I am becoming particularly interested in working with the ‘form’ of a book – not necessarily an illuminated book but something more anarchic – like graffiti between covers!
