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yorukamome [userpic]

how many times do you happen to leave a good piece unachieved, promising yourself to give it soon the beautiful final form you "have in mind"?...then you start watching it and mumbleing again and again, but no solution comes - so that the nice unfinished page wanders around your desk for months, until you make up your mind and add something that you know will definitely spoil the page, making you feel ashamed and unsatisfied...well, here you are a perfect sample! Don't mind the lines, I started writing "my idea" and ended by doing also a mess with the text - my only solace, the XVth century bâtarde anglaise has exactly that "rough, half-legible" aspect I wanted...the theme, clearly recognizable, is summarized in the gilded image where I married a heart and the Ouroboros sign for infinite [∞], meaning our endless love for "the letters" and their mesmerizing forms.

yorukamome [userpic]

François Villon, from "Ballade a s'amye", ca. 1461

"Faulse beauté qui tant me custe chier
rude en effect, ypocrite doulceur
Amour dure plus que fer a machier
nommer que puis, de ma desfaçon seur
Cherme félon, la mort d'un pauvre cuer
orgueil mussiié qui a gens met au mourir
yeulx sans pitié..."

(thou false beauty that costs me so dear, thou rough indeed hypocrite sweetness, Love lasting more than iron curb bit , named only to achieve my sure distress, Murderous charm, poor heart’s death, o covert pride that sends men to ruin, pitiless eyes...)

paper: Amalfi handmade, 120 g/mq, silk 90 %
quill: turkey, 2.3 mm
ink: nut brown, metallogallico (copper oxide)
gold leaf 23.3/4 kt on PVA
manus: bâtarde bourguignonne after Jean de Courcy
source: "Chroniques de la Bouquechardière", Rouen ca. 1470, fol. 138 recto/ 85 verso
(St. Petersburg, National Library of Russia, ex. collection Dubrowsky)

yorukamome [userpic]

an essay with different inks (Fabbrica Italiana, circa 1930/40s) and vintage pointed nibs for this essay in greek cursive on my Amalfi handmade silk 90% paper: the quote is mine (oh, gosh!) as well as the mistakes: I missed a [με] in the last line and distractedly wrote [χρώμα] with an [ο] trying then to create - although a similar one DOES already exist - a new shape of the underlined [ο] for [ω]...of course, I also need to apologise for my very poor greek!

ο καλλιγράφος είναι ένας πολύ πολύτιμη άνθρωπος,
επειδή μπορεί να δώσει μορφή και χρώμα και
ευέλικτη κίνηση με τα λόγια του ποιητή.

(the calligrapher is a very precious man, for he can give shape and colour and agile movement to the words of the poet)

yorukamome [userpic]

after Richard Bach's "Illusions" - parchment paper, seagull quill, carmine, nut brown, circa 22 x 24 cm:

yorukamome [userpic]

a bit of training with my old and beloved hawk quill (circa 1 mm), a sheet of Amalfi handmade paper (new series, 140 g/mq 85% silk) and Maestro Ernesto Casciato's pomegranate ink:

yorukamome [userpic]


yorukamome [userpic]


yorukamome [userpic]


yorukamome [userpic]

a freehand exercise on Cataneo hand - see the link below:


yorukamome [userpic]

la MAIN d'Arthur Rimbaud et sa "lettre du voyant"


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