Above: a demonstration of the word 'polyrhythm' written in expanding and contracting forms, repeated in two interacting layers.

 

An explanation of this exciting term, with opportunities to study with me in a week long workshop in Germany or in the United States in the coming year. Note added 2012: The kind of calligraphy featured here is the theme of my educational video program detailed at Calligraphy.TV

 

W H A T   I S   P O L Y R H Y T H M  ?

'Polyrhythm is the simultaneous sounding of two or more independent rhythms.' (Wikipedia).
I have loosely appropriated this musical term for calligraphy that has more than one formal theme repeating regularly. This is new and experimental in western calligraphy since almost all historical and most contemporary work has aspired to what I term a mono-rhythmic principle, i.e., regular spacing of letters that correspond to a single formal theme. (Don't misunderstand 'formal' as traditional, here formal means based on form, as distinct from conceptual). The basis of my idea owes more than a nod to the writings of the late Hans-Joachim Burgert, who inspired similar development in work by Brody Neuenschwander and Thomas Ingmire, among others. We have each taken a kernel of knowledge from Burgert in our individual directions; yet regardless of the differences, basic similarities place this theme at the cutting edge of contemporary calligraphy.

 

 

W H Y   M A R C H ,   W H E N   W E   C A N   D A N C E  ?

Above: 'a drop or a dot', in two variations. Top brush written on spaced layers of translucent organza, bottom a layer was written on wet paper before a second repetition after the paper dried.

Would you like to make writing that dances, instead of marching uniformly across ruled pages? Are you prepared to rethink form and rhythm in writing at a deeper level? Do you think workshops should be fun as well as hard work? Do you want to take away inspiring ideas & knowledge learned in order to develop your work practice over a much longer period at your home or studio?

Well I do! If you happen to agree, then come and join one of the opportunities in 2010 for a weeklong immersion into polyrhythmic calligraphy? The first US opportunity is at Camp Cheerio in North Carolina, May 2 - 7, 2010. This is an intimate retreat in the mountains famous for great workshops (only rivaled by equally great cooking & personal attention of resident chef Martyn Armstrong). The other US opportunity to take this class with me will be at the 2010 Annual Conference of Letter Arts: 'Odyssey' in Boston, July 24 - 31, 2010. Both venues offer full board and accommodation.
In Germany I will teach a 4 day, non-residential class on Polyrhythm at the AG Gallery in Wentorf, Hamburg, March 25 - 28. Then a 5 day residential class in Schloss Spindlhof, Regenstauf near Munich, March 29 - April 2,.will feature some days on polyrhythmic calligraphy after initial days cover advanced italic and flourishing.
Click the red links to be taken to the relevant website to find contact and booking information.

 

These will be my first workshops where students will have an exclusive opportunity to purchase a CD-Rom or DVD with key lectures, slideshows and demonstrations in high quality video, filmed in HD at my own studios and edited by me personally. When you return home this will mean you have no excuse to forget details since you'll be able to review demonstrations letter by letter as many times as you want! This will be a preliminary release of what may become commercially available in future years, but for the time being only students of these workshops will have access for personal use only, (not for use as a teaching tool nor for presentation or representation in any form). Copyright infringement could kill my plans for more work on this, yet the potential really excites me that students who continue working in the months after the workshop could advance so much more easily.

Layering writing over writing will also be explored to multiply the polyrhythmic repetitions. We will lose legibility, yet by musical analogy it is easy to justify this approach. Think of a solo singer, who has potential to render a song more intelligible than a multi-voiced performance; yet the layering of voices in a choir can be musically richer, if at the expense of some intelligibility. Put the choir in a cathedral, and reflections and reverberation from stone walls in a large space multiply the depth of sound, although again at the expense of intelligibility. We'll be exploring calligraphy that places emphasis on a musical quality of writing over clear legibility of words.

 

Above: One of my own pieces that discarded a skillful line. Writing engraved on layers glass casting multiple shadows. An ironic presentation of words by Edward Johnston: 'We cannot have too much freedom within the limits of our craft'.

Impressive results may be achieved either way, so you don't need to be highly skilled. The workshop will offer two approaches. One will be demonstrations and precise instruction on my own 'style' and will involve skilled penmanship. On the other hand I shall be encouraging participants to discover their own style, which may be based on your skill with any tool, or even be based on a subversion of skill, (e.g.. writing with your other hand than normal) yet still following principles of form and rhythm that I'll be explaining. Any individual will make a choice on which of these two approaches to concentrate in the latter days of the workshop.

 

 

 

People can be intimidated at the idea of taking classes from a 'world renowned calligrapher'. There really is no need. I try to make workshops fun even when there is serious learning going on!  I deal with advanced concepts, but I make every effort to make them accessible to all who come. That means taking people at their level and making sure each one has achievable targets, as well as more challenging ones that they can take home to work on over a longer period. I taught in Austin TX recently, and the guild's November newsletter featured some encouraging quotes that I'd like to share for the benefit of anyone who may be intimidated. Do yourself a favor: get over it! Come, work hard, and have a lot of fun!.

“As the newest member of the group, I was thoroughly encouraged and inspired by Denis’ teaching. His sense of humor makes learning fun and watching him letter is breathtaking. He is a one-of-a-kind master that inspires you to work harder, think more creatively and want to be your best.” Nancy Shields

“I really enjoyed learning from Denis. I was intimidated before the workshop being new in the calligraphy world but he is a wonderful teacher and I am glad that I had this opportunity. Plus, he has a wicked sense of humor.” Bailey Amon

And the following from a more seasoned calligrapher who knows music at least as well:
“Studying with Denis Brown is like taking voice lessons from Celine Dion. Awesome! He can sing a song straight through with just the foundation of a melody, but doesn't! Denis is truly a master in the Calligraphy world and I am honored to call him my “friend”. Trish Taylor

Thanks to Nancy, Bailey and Trish for permission to quote them.

 

"Make Stains". ('We are ink and blood and all things that make stains', Erica Jong)

 

If you have been stimulated by reading this newsletter, then I do encourage you to come join one of these workshops and immerse your self in polyrhythms! Note added 2012: The kind of calligraphy featured here is the theme of my educational video program detailed at Calligraphy.TV

 

 

The previous newsletter & older ones are still available from: http://quillskill.com/newsletter_sept2009.htm