Tim Girvin

In the late 1970s, I discovered “Oregon Rainbow,” a beautiful, short-run magazine published by Heidi Rickabaugh, Robin Rickabaugh and Everett Thorne, which featured artisans of various disciplines across the Pacific Northwest. With extraordinary photography and illustrations, Oregon Rainbow offered a visual adventure of the arts, and a tactile experience—thanks to the use of different paper types, which were chosen to highlight the various artistic disciplines.

Later, I picked up a copy of Rainbow Number Seven, and I noticed that compared to the previous issues, the title design had changed. A freely written bold script, written by then 25-year-old calligrapher Tim Girvin, had replaced the simple sans serif typeface. This particular edition featured a back cover pocket, which held a 2’x 3’ poster, also created by Tim. It was called “A Rainbow Garden of Herbs.” The title was written in a large flourished script and was surrounded by names of various herbs that were all handwritten in different lettering styles. I thought it was one of the most beautiful pieces of work I had ever laid my eyes on! I had never seen anything like it before. I was mesmerized by the design of the lettering and from that moment on, I was certain that some how, some way, I was going to learn how to make letters look like that! The rest is history.
Fast forward to the summer of 2010. I had planned to spend a few days getting reacquainted with the beauty of the Pacific Northwest. As I was making my plans to visit Oregon and Washington, I happened to glance at my old copy of Oregon Rainbow Number Seven that was tucked away in my studio bookcase, and so I decided to email Tim, who has a studio in Seattle, to see if he would be willing to meet. It took a lot of courage for me to hit that “send” button, but when a warm welcome came back from his office, I packed my bags and headed north, delighted that I would finally meet the man behind the calligraphy. My goal was simple…I just wanted to let him know how his work inspired me early on in my career. Nothing more complicated than that.
Tim Girvin is an amazing lettering artist. His knowledge of lettering arts began with an unconventional educational experience that was built around type, book arts, print, architecture and letterform. He wrote his own academic program of study when he attended Evergreen State College in the state of Washington. As an extensive traveler, he expanded on his formal education by specifically searching out people, whose culture had not only integrated, but also highly valued the written form as an aspect of personal, public, and spiritual communication.
Over the past 30 years, Tim has evolved from a calligrapher that produces a singular hand-written title to a well-known reputable designer that looks at the entire aspect of brand strategy for the multi-faceted projects that pass over his desk. He has risen to the forefront of design when it comes to integrating the art of traditional western calligraphy with the field of visual communication. His background with the written word, which allows him to add additional layers of knowledge, richness, and texture to a project, ensures a brand will move gracefully and memorably into the future. Where other design studios can only copy and paste pseudo script du jour, Tim Girvin can dive into his own personal repertoire and pull out just the right quill that will lead to a mark that artfully engages the human experience and connects a product to the buying public. I met Tim at his studio in downtown Seattle, where he spent some time showing me some of the art he’s collected over the years, like an amazing Japanese ikebana hana kago (basket) collection that was suspended from the ceiling in the foyer along with several talismans in small frames, displayed on the opposite side. As the hallway opened into the main studio space, my eye fell upon a large flowing swatch of fabric with a whirling brush stroke that evoked a particular “mastery” of the lettering arts.
The studio has a warm and calm atmosphere. His extensive library of books and manuscripts are readily available to all of his designers. Some of the books—rare and collectible—are from Girvin’s excursions abroad, while he was researching different cultures and their writing styles. In a room meant for large gatherings, sheets of calligraphy were hung from the walls as examples for his designers to refer to when they practice the art of fine writing.

As we sat and talked, Tim showed me some of the work his studio has produced. He has done a considerable amount of movie titles, and was involved with the typefaces first chosen for the Apple computer system, working directly with Steve Jobs. There were also product identities that I recognized from my local grocery store shelves.
I’m glad I took this opportunity to finally meet Tim to let him know how his calligraphy in Rainbow Number Seven had inspired my career. I came away with a profound understanding and appreciation for how he has been able to cultivate and integrate the practice of calligraphy into mainstream American product branding. Those of us who have embraced this field have been enriched by his ability to blaze the trail so eloquently. So thank you Tim Girvin, for allowing me to express my gratitude.
To see examples of Tim Girvin’s work visit him at www.girvin.com. I’m told he has a few copies of the posters “A Rainbow Garden of Herbs” and “A Rainbow Garden of Flowers” that are for sale if you are interested. Both of these posters would be a nice addition to any calligraphic collection.

Ca'Toga

I have a background in signs and scenic painting, which gives me a sincere appreciation for large works of art that cannot be contained within a gilded frame. This type of art, whether it’s a mural on the side of a building—or a unique outdoor advertising sign, always catches my eye.
I particularly enjoy seeing trompe l’oeil, which is a painting style that “fools the eye” into believing a two-dimensional (flat) surface is three-dimensional by using optical illusion techniques.
This type of realistic looking artwork is seen in traditional paintings, but is most commonly found in murals. Trompe l’oeil can also be found on the architectural surfaces of some European cathedrals and castles. When the European craftsmen immigrated to America, they brought trompe l’oeil with them.
I have discovered many beautiful examples of architectural trompe l'oeil at several well-known Las Vegas casinos and hotels, and also at the Winchester House, located in San Jose, California. All the Disney properties have also made good use of this ancient technique that dates back to the Baroque period in history. With a few buckets of paint, a whole lot of talent, and a stroke of the brush, Disney’s craftsmen are well versed into tricking their guests into believing that they have arrived, upon purchasing a simple ticket, at some exotic land. After a recent trip to Northern California, I can now add Napa Valley to my list of places in which to see this style of art.
Carlo Marchiori is a renowned decorative painter, who lives in Calistoga, a peaceful, picturesque little town at the northern tip of the valley. He is originally from Italy and studied classic art and academic design in Padua and Venice. He’s much more than a painter, Carlo is also an Academy Award-nominated filmmaker (The Drag, 1967), a sculptor, muralist and a delightful host.
I had the opportunity to sit down with Carlo, over a glass of Italian wine, and talked to him about his works of art. In all, I spent an afternoon walking with him around his villa, viewing the gardens and also got a glimpse of his most recent project at one of the local wineries located in the heart of Napa Valley.
Although most people travel to Napa Valley because of the wineries, it was Villa Ca’Toga, the Italian estate Carlo created for himself, and calls home, that attracted me to the region.
Inside Villa Ca’Toga:
Located on the outskirts of Calistoga, Carlo’s illusion begins as the garden gate swings open to reveal a Palladian-style villa with an expansive lawn that has bits of sculpture placed strategically about, hinting at what the guest is about to experience once they walk in thorough the villa’s cinnamon colored, front doors.
The home’s interior walls are painted with murals from floor to ceiling, with each room claiming a different theme throughout. The main living area, which has a Greco-Pompeian mythological and Venetian Carnival theme, features trompe l’oeil painted on the walls as though his sculptures and pottery works of art are in relief. With master control over his color palate, the murals are painted with muted earth tones that do not overwhelm the space. Any uses of color that may be slightly richer in tone have been carefully positioned around the room to keep everything in perfect balance.
But what sets Carlo apart from other decorative artists that specialize in trompe l’oeil architectural painting is that he does not slavishly copy traditional motifs or styles, but has managed to spin a web of wit into an entire repertoire of designs, that he uses repeatedly, making his work a cohesive, recognizable body that is all his own.
The rest of the house is personal and tells the story of this painter’s life. Each room has a theme that may recall a childhood memory, or may illustrate his philosophy of life in a whimsical way.
If you look carefully, every nook and cranny of the villa, offers a glimpse of “who” this person is that’s doing all the painting. My favorite moment of the tour was when I looked down from the second floor of the villa into his working studio, where everything he creates begins.
Carlo is a vivacious well of creativity. His work extends to hand painted tiles, sculptures, articles of arte, dishes, and furniture, making him a well versed and disciplined craftsman. His style can move from gestural watercolor studies, found on wine labels throughout Napa, to geometric or free flowing patterns. His classical human figures, painted with a well-studied understanding of human anatomy and proportion, are depicted with a variety of attitudes and movements. The garden is filled with interesting objects of art ranging from classical to whimsical.
Visiting Villa Ca’Toga is a rare opportunity to see how an artist chooses to develop the space around him. The villa is open to the public seasonally and Carlo’s gallery in the center of town is definitely worth a visit, too. Many of the local Napa wineries feature his enormous wall murals. For more on Carlo Marchiori visit him online at www.catoga.com.
I hope you have enjoyed this introduction to this ancient, magical art form. The next time you visit a Las Vegas Casino, A Napa Valley winery, or one of the Disney Resorts, take a closer look and you may be surprised to find a bit of Trompe l’oeil fooling your eye.

Letter Arts Review Annual Competetion

I subscribe to the periodical “Letter Arts Review” that specifically features articles and work about the Art of Calligraphy. Every year it features an Annual Juried Competition that draws a wide range of work from around the world. This year, one of the pieces that I submitted was among the work that was selected for their annual competition. Although it is always nice to have one’s work selected from so many great pieces, it is also an honor to see my own piece of work printed along side the work of people that I have admired and that have inspired me to continue to strive to use the Calligraphic Arts as a means of communication as well as a form of self expression.

What is most interesting about the annual, and especially true this year, is the amount of work that is showcased from around the world. Most of the Calligraphy that is seen from other countries are examples of work whose cultures have long recognized the art as being on the same level as music and poetry as a form of expression. In the United States, although we certainly have many excellent Calligraphers within our borders, the wide spread public recognition and appreciation just isn’t there… yet.

Representing the United Arab Emirates, Wissam Shawkat submitted several beautiful examples of Arabic Calligraphy. One example is extremely complex and displayed as a wall graphic. While another is a simple, intimate Quranic verse written on paper. Both are extraordinary.

 Denis Brown, from Ireland, shared large format panels that were a kaleidoscope of color and energy. The line value of his writing is definitely at master level. Calligraphers from the countries of Germany, Japan, England, Mexico, South Africa to name a few, also submitted wonderful examples of this art form done in a myriad of mediums and forms.

From the United States, Glen Epstein, seems to always have something dramatic to write about. While Georgia Deaver, the peach of American Calligraphy, had a piece that seemed to float unhindered above the page. The contemporary beauty of the American version of this artistic expression was well represented from coast to coast.

I was also fasinated by all the languages that were represented in the annual. I found pieces written in Greek, Batarde, Dutch, German, English, Old Italian, Chinese, Japanese, and Arabic. My own piece was written in Gaelic.

Being chosen for this annual competition issue was a delight to me. To be considered among a group of peers representing this art form from around the globe was at best, a humble experience. I recognize it as a chance to share my love of letter crafting with an audience that extends well beyond my studio walls and I thank the jurors and all the people associated with the publication for this opportunity.

If you would like more information about Letter Arts Review, you can contact John Neal Booksellers

 

 

Spring Celebrations

March has brought us the Spring Celebrations of St. Patrick’s Day and Easter.

For a short while, had the pleasure of living in the beautiful country of Ireland. I stayed in the small town of Wexford in the south of Ireland, where I developed a keen appreciation for the Irish culture.

The illustrative lettering is an Irish proverb written in Gaelic, the national language of the Irish people. The exercise of writing in a language that I am not familiar with allowed me to see the letters purely as a design element. I wanted the lettering to dance across the page. For me, every stroke in this piece represents the pure joy I felt in the writing process.

Here’s the translation:

Maireann croi e a drom I bhfad.
A light heart lives long.

This little rabbit, illustrated in oil pastels, is getting ready for his Easter feast by bringing in potatoes and corn from his garden. Skipping along the garden path, he looks pretty happy with his bounty!

I hope you have enjoyed the Spring Celebrations as much as I have!

Thanks for checking in!

Janey

My Chocolate Labrador

This is my chocolate Labrador retriever, Jetta Nuit (new-eee). At 8-weeks old, the question was “who was going to training whom?” She is all grown up now, but if the truth were told, she has been a joy and inspiration in my life and my artwork.

Because the Labrador is such an intelligent and active breed, my husband and I studied and participated in obedience and field training events from the time she was just 16-weeks old. All the obedience training was meant to turn a hyper little puppy into a well-mannered part of our family, which worked very well. The field events that we continue to participate in, ensures that she lives a healthy and active live.

These activities not only meet their objectives but also give us a deeper understanding of what it takes to turn a cute puppy into an AKC Master-level working dog. A “working dog” is classified as any dog that is trained for a specific task.

There are many kinds of dogs that are trained for a variety of tasks. The most commonly recognized working dogs are Guide dogs trained to offer support for people that are sight or hearing impaired. Some dogs are trained to search for specific items like drugs or explosives, while others become efficient at search and rescue. There are many breeds trained to assist in a variety of tasks that help out on cattle, sheep and horse ranches.

I was approached by the Labrador Retriever Club of Southern California to design a new logo that would grace their apparel and boost their fund raising efforts to support their various activities. To capture the spirit of this particular breed, I choose loose brush marks to compose the image. The bouncy script, made with the same tool, was a nice complement that kept the entire logo light-hearted and fun, perfect for all of the events that the hats and T-shirts would most likely be worn.

The new logo was a huge success for this group. It also won a coveted place in a national juried show for the lettering arts conducted by Lettering Arts Review, a periodical that supports and showcases hand lettering and Calligraphy around the world. To see more logos that I have designed for the dog world please visit my website and look under “Icons”.

Thanks to our wonderful experience of having trained a working dog, my husband and I made organizations that train dogs for sight and hearing assistance as well as search and rescue activities a part of our charitable efforts. Our Jetta Nuit has become an example for many pet owners that make an effort to give their pets a healthy and productive life.

My first blog

Welcome to my blog!
This is a new adventure for me. I plan to post interesting comments about my work here. One of the most common questions I get, right after "when are you going to get a real job?", is "what inspires you?" I will be showing some of my Calligraphic pieces along with a comment that answers just that. So come back and visit sometime real soon. I will welcome all comments about my work as well.

Janey