Japonaiserie

Pulitzer & Peonies

A while ago I came across this photograph which incorporates two of my favorite things: the color pink and calligraphy. I can't remember if this was actually the Pulitzer home or an office or what, but I do like it!



While we are on the subject of pink, my favorite flower is in bloom—the peony. Pink and white are my favorite colors for this flower.



According to the good people at Teleflora, "peonies embody romance and prosperity and are regarded as an omen of good fortune and a happy marriage."

The Portrait of a Lady—Glimpses of the Victorian Hand

Anyone who knows me well knows that I cannot speak on the subject of film without bringing up one of my favorites, Jane Campion's 1996 masterpiece, The Portrait of a Lady. The film was made on the heels of her 1993 success The Piano, but did not reach the same acclaim. In fact, the DVD is currently out of print. However, Jane Campion's love for the costume drama led her to directing Bright Star, which I mentioned in the previous entry.

The film's opening credits fade in and out over what one can guess are contemporary women about the same age as our heroine, Isabel Archer. The film's title is written on the hand, ever so delicately. Perhaps it was written by the same person who not only did all of the calligraphy for this movie, but for Bright Star, as well.


The written word is scarce in this film, but not worth ignoring. As Isabel packs her bags, she pulls slips of paper that are tucked into a crevice of her wardrobe door. Perhaps these are her vocabulary words of the day? Whatever they may be, the words foreshadow the tone of the film.


Notice the use of all uppercase letters—this is not something very common of the period, and does not make for the best readability. As bizarre as it may seem, it is unique and interesting.



The last small bit of calligraphy included is for Isabel's world travel sequence. This sequence was done in the style of an early film, and the writing is reminiscent of captions one may have written in a photograph album from that period.

Bright Star—Calligraphy in Georgian England

The next film chosen for its beautiful calligraphy is the 2009 Jane Campion film Bright Star, a love story involving the most famous Romantic poet, John Keats. While watching this movie, I noticed that leading lady Abbie Cornish bears a striking resemblance to Nicole Kidman, the leading lady of Jane Campion's 1996 period piece The Portrait of a Lady.



The film takes place in during the Georgian Era, and includes simple, yet beautiful Regency interiors and shots of the English countryside. The correspondences throughout the movie are letters folded to make their own envelopes. On this particular image, one can see a stamp that looks like an imperial crown.


If one is quick, he or she can catch a glimpse of the addresses. What makes them so beautiful to me is that they are each hand-written and flourished, but they are not so perfect that we find it hard to believe they were written for daily correspondence.



Some envelopes are more simple than others.



One of the major turning points of this film includes a valentine. It even includes hand-drawn details and a small amount of color.


Below is my favorite screen capture from the film. In this shot, one can see the letter through the paper. Though out of focus, a stamp on the letter to the far right is visible, just like one of the letters shown previously.

The Age of Innocence—Calligraphic Opulence

To continue my love of calligraphy in movies, I bring you The Age of Innocence. This 1993 film is Martin Scorsese's directorial adaptation of Edith Wharton's Pulitzer Prize winning novel of the same title.

The handwritten word is almost a character itself in the film which was done by calligrapher Bernard Maisner. The opening credits were designed by Saul and Elaine Bass. Saul Bass is best know for his title sequences for movies like Psycho and West Side Story. In this title sequence we see line after line of copperplate calligraphy creating a texture over a blooming flower.



The set director and props master went to great detail to include lavish details that would only be seen for seconds. A perfect example is the next still of Mrs. Mingott selecting flatware for dinner to welcome Countess Ellen Olenska.



The invitation is sent and presented. Of course there is no address on the envelope below, as it would have been delivered by hand and most likely delivered with an outer envelope, much like a wedding invitation. The outer envelope was removed before it was received by the lady or gentleman of the house. This was done so the recipient would receive his or her formal invitation without dirt or fingerprints from the delivery man.



Next is the invitation, beautifully written on stationery known as formals. If you look carefully, you can tell that the page would open like a card, but the invitation is written only on the front of the folded paper. One would also use a formal to send a letter or acceptance or regret to the event.



Sadly, everyone sends regrets. Below is a still from the montage.



Later in the film, Newland Archer sends a bouquet of yellow roses to Countess Ellen Olenska. He includes his calling card in an envelope. Note the silver calling card case.



This is an absolutely beautiful movie, not just for the calligraphy but for the story, costumes, sets, and even food. If you have a love for costume dramas, than this will most likely be somewhere toward the top of your list.

Victorian penmanship

Tricia Foley gave me the most beautiful facsimile of an old copy book. This one-color printing is such a beautiful and elegant use of type, and a calligraphic inspiration.

More from . . .

Today I am featuring the work of The Yellow Owl Workshop -- an innovative group I met from the National Stationery Show. I had a very nice conversation with Evan, and he showed me around the booth. Much of their work was done with silkscreen, which makes for beautiful, flat colors. I tried silk screening in college, and though I love it, I must say I find it a tedious process when working with more than one color. I admire anyone who can get good registration with this method of printing.
There were also some innovative works made with blind embossing. I am surprised I have not seen more of this technique used with other vendors, but perhaps The Yellow Owl Workshop is starting the trend. I really like their do-it-yourself greeting with the LCD card. Nice work!

Two Great Days

I have spent last two days at the National Stationery Show, which was a positively overwhelming event. It seemed the true die-hards were there this year, and I met a lot of great people, many who started off with a printing press and a dream. I skipped most of the big corporate booths, and focused my time on hob-knobbing with those in the cottage industries. Everyone I spoke to really seemed to love what he or she was doing. Also, I made some wonderful connections for calligraphy -- so many people had very nice things to say about the booklets I handed out to everyone.

I had an excellent conversation with Trish Kinsella, owner of the Dauphine Press. I had seen her work featured in something recently (I'm guessing it was a Martha Stewart bridal magazine); it is no secret that she is to stationery as Mercedes is to automobiles. If one were able to pick up a sample of her work, you will find she does very delicate and lovely letterpress on very thick stock. She was complimentary of my calligraphy and was very encouraging. I hope to stay in touch with her, as she is highly respected for what she does, and was such a kind person, as well. Thanks Trish!