It’s something my late husband, Vincent, and I used to light-heartedly joke to each other whenever one of us messed up.
Hand-crafted by DARLENE in 1997
“What Good Are You?” reflects our wacky, off-beat sense of humor. Of course, underneath it all was a foundation of appreciation and respect for each other.
I happened to find this card, which I hand-rendered and gave to him in 1997. Today, I decided to dust it off and offer it as a greeting card to other people who want an opportunity to express to another person just how great they are, even if they are unsure about it themselves.
As a hand-rendered card, I made the lettering disappear into the design. You have to search to read what it says. Then, once you figure it out, you do a double-take. Do you know your own Beauty? Many people do not. They are clueless. Thus, I offer this Friendship Recognition card at my Zazzle store.
Bardulf is the main vilan of the story, at least at the very beginning.
Through treachery and a touch of magic, the dark prince used the mysterious Ring of Emeth to bewitch UR’s princess, whose proud beauty fascinates him. By placing the ring on her finger, she immediately fell under his spell. Intending to marry UR’s princess himself, he planned to secure the rich kingdom of UR for himself, With ambitions to conquer the whole of the Mid-Realm, the subduing of UR through political marriage was only his first step towards this goal.
Although he lost the princess due to the incompetence of his soldiers, he knows the loss is only temporary. He can always find her with help from the ring of Emeth. A dragon-lizard named Gryth is attracted to the ring. Through the dragon-lizard’s connection, he is able to “watch” Jasmine’s progress from afar. Jasmine cannot remove the ring. In the meanwhile, Bardulf pretends to the King of UR, pretends that the princess is in his stronghold, and that she has already consented to be his Queen.
I would have said that the above text is also from Installment 13. But after comparing it with the actual panel (below), I find that it is not. There is more and better information in my notes. I think space limitations caused me to abbreviate the ideas stated above.
This is the text accompanying Bardulf’s illustration. It’s from the 1st panel of Installment 13.
This share is not technically a “Snippet,” at least not in the way I’ve been defining it.
For clarification, the snippets I’ve shared thus far have been notes to myself, mostly recording the plot elements I needed to remember. There are some nice phrases, but not much actual attempts at writing.
As I’m in charge of my own rules, I share this panel of finished art. I’m allowing it because no one has seen it before. It’s from the 13th Installment of The Story of Jasmine, which was not published. I love this particular page design.
The third page of the unpublished 13th installment of “The Story of Jasmine.”
The previous two pages in this recap installment were both designed as two column pages with illustrations at the top and introduced the major players, two to a page.
The design of the entire 13th “Story of Jasmine” Installment was symmetrical. I felt choosing this type of unifying layout would aid readers who first encounter the story. To more easily grasp a sense of the plot, the text introducing the characters together with their portraits, provide a stable visual foundation.
But, by far, the third page, which mimics a cross, is visually satisfying to me. The text within the blue central panel states the essential purpose and objective for these characters to unite as companions of Jasmine. Both conceptually and visually, the central square unites the elements of the story and the page.
I like how the landscapes indicate something about each character and I’m especially fond of Ahearn’s illustration. But I do remember struggling with Thorne’s miniature painting.
This panel was created before the days of computers. Today, using software like Photoshop, editing an image is no big deal. However, everything drawn and written on the above panel — all images and calligraphy — were created directly on the illustration board, leaving no room for mistakes. At that time, I had to be careful because the production camera picked up any attempts at corrective measures, such as in the case of changing misspellings. I believe the illustration board was at a size, close to 100% reproduction size.
By the way, the text from yesterday’s share turned out to be from this panel. Should any other text that belongs to this page be found, I shall endeavor to point it out.
By no means exhaustive, the works within this Gallery were chosen for their unique qualities–like utilizing paper Darlene made herself, her experiments in combining calligraphy with photography, non-usual layouts, calligraphy etched onto glass, type face design based on calligraphy and angelic alphabets, etc..
GALLERY of CALLIGRAPHIC WORKS by DARLENE
Although Darlene started dabbling in calligraphy early on in high school using a Speedball pen and guidebook, officially, she dates learning calligraphy “properly” when she stayed in London in 1974 as her Field term at Beloit College. Her teacher was Dorothy Hammond, Craft member of the prestigious Society of Scribes and Illuminators.
Many years have passed since that time. Darlene has learned her craft from the “who’s who” in the Calligraphic Arts–Shelia Waters, David Howells, Ian Reece, Donald Jackson, and Thomas Ingmire to name a few. Along with a myriad of different scripts, she also learned quill making, vellum preparation, paper-making, Medieval Gilding techniques, marbling and book-binding. Darlene’s also taught calligraphy and helped to co-found The Wisconsin Calligraphers’ Guild. Her calligraphic works have also been published in several books.
About works within the Gallery:
Flower of Darkness. Darlene wrote out in calligraphy several depressing poems using different colored inks for each poem–pale blue, black, crimson–on black paper she created herself. Darlene also hand-bound the book which fits within a box she made in the shape of a coffin. The binding incorporates the accent of a paper sculpture on both the cover and coffin-shaped case. 1986.
Flowering Tree Roundel. After Darlene researched the different flowering plants associated with the 12 months of the year (according to Sun Bear), she arranged the information in a roundel, combining illustration with calligraphy. Likewise, the colors she used for the calligraphy were also associated with the months. 1988.
Albert Einstein Quote. This calligraphic piece, which incorporates illustration with text, was published on the front of the Wisconsin Calligrapher’s Guild Newsletter. It is one of her favorite quotes from Albert Einstein. 1981.
Dragon Alphabet of Decorative Caps. These Capital Letter project combines two things Darlene loves: letters and dragons. 2003.
Photographic Calligraphy. Darlene used her favorite Einstein quote in her photography class at Indiana University. The piece was created by brushing photo-emulsion onto a piece of paper and exposing the portrait image through a layer of acetate that she had calligraphied. When exposed, the places where the light could not get through shows up as reversed lettering. 1986.
Pasolini Quote. Darlene stayed in Italy, attending a 4-month Artist Retreat when she created this calligraphic piece on paper which she made herself. As the time wore on, many of her fellow artists got fairly depressed and this quote somewhat reflects the mood. 1983.
Manjushri. This is a fairly straight-forward calligraphic piece dedicated to Manjushri, the Bodhisattva of Wisdom. In Mahayana Buddhism, his name means “Gentle Glory.” 2006.
Voyagers of the Light. The calligraphy was etched on Glass. 1987.
Osiris, the Plant of Life. This calligraphy was produced using different ink colors for different lines of an ancient Egyptian poem. 1998.
The Power of Love. This is not calligraphy–this is a typeface Darlene designed based on calligraphy. It’s included it in this gallery because it looks fairly convincing as hand-work. 2006.
Troubadour Poem. On the occasion of a marriage, Darlene created a calligraphic piece reminiscent of an illuminated manuscript page, complete with borders and illustration. The illustration is also crammed with hermetic symbols. 2001.
Ophanic Characters. Darlene re-designed a 16th century angelic alphabet, known as Enochian but re-named as Ophanic, according to the principles of character readability. 2009.
Question from Martin: Wanted to contact you concerning the lettering in the original TSR Deities and Demigods, particularly the Melnibonean lettering. I want to create a font based on the style. Any information would be appreciated.
Ah yes, I remember that one! It would certainly be a challenge to recreate as a type font.
Like some Greek and Celtic characters, the “o” is based on a diamond shape. The alphabet’s main feature are its huge triangular serifs that taper down to a point. I based the idea partly on the cuneiform writing of Mesopotamian clay tablets. There was also an Anglo-Saxon manuscript I saw once at the British Museum which had memorable tapered finials. Those scripts were my inspiration. I seem to remember I did an entire page using a script like that. I believe it was in “White Plume Mountain,” one of my first commissions for TSR back in the late 70’s.
Hope this helps. I would be interested in seeing your results.
I just found myself reading some movie credits solely to see the typography. I’m always looking at type. I’m interested in how someone solved the usual typographic problems. I’m genuinely appreciative when someone gets it right.
How great is the role of nuance? Getting the relationships just right enhances communication. Beauty speaks. Nuance is altering–minutely–by nano degrees, a letter’s shape and contour. Nuance is the difference between a sparkling result or an average one.