For much of the art I have created for AdD&D, I used the medium of pen and ink. It was the preferred medium for the RGP genre, a hold-over from the print technologies of the past, before the digital age. Back then, it was simply easier to reproduce illustrations for offset printing where black was black and white was white–with no grey-scale in-between. Obtaining the illusion of grey-scale using only black was possible, (like stipling with dots) but very time-consuming.
At that time, turning in art using pencil was frowned upon because reproducing grey-scaled art for print via Photo-Mechanical Transfers depended upon the skill of the camera person. The results were not always happy. Often, the subtle details of the art was lost in translation, making the art appear lacking in the printed version. If artists wanted their work reproduced accurately, they defaulted to pen and ink.
But that was back then… This Gallery displays art I’ve created using different types of pencil.
Art created with pencil, colored pencil, and grease crayon
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.
A shift has been happening within me. But I’m not the only one. Now that I reflect upon it, I’m aware of many other sensitive people who’ve also intuitively been preparing for a major shift in perspective. We could feel it. We just did not know how to name it. Nor did we have the language to describe it. Like others I’ve shared with, I feel we are at a critical juncture for planet Earth within our current space/time. I am consciously tipping the balance in favor of an emerging paradigm of life that compels vision, skills, creativity, courage and collaboration.
During the last couple of years, I chose to select projects–like Kathleen Wiley’s two books which combine Jungian insights with biblical wisdoms–that see old subjects with new eyes, new perspectives. By putting my focus on Kathleen’s books, I am adding my energy and input to her message. Both of her books have been very favorably received.
Before that, I devoted my time to a much larger book project several years in the making. Occupying most of 2014 and 2015, I am proud to have added my artistic touches to “Mythos Arcanum,” a new RPG game system based on classic D&D. It’s innovation is that it introduces the concept of “philosophic gaming” which encourages critical thinking about the nature of reality. The morality question is openly addressed. There ARE consequences for stealing, plundering and killing. As in real life, players must figure out alternative ways to achieve their character’s goals. So I am choosing to lend my energy to worthy projects that will help people in some way.
The project I’m currently finishing up is a medieval fantasy and mythological coloring book which I will first publicly present at NTRPGA Con (June 2016). Most images depict powerful women with their animal helpers and familiars. The impetus behind the coloring book is due to the gift of a little girl who showed up at my exhibition booth at GaryConVIII. In response to one of the drawings I had on my table, a little seven-year-old girl presented me with a small piece of paper upon which she depicted a unicorn in colorful felt markers. Her gift delighted my heart.
When I looked around the room, I noticed there was not much merchandise being sold for smaller children. Then it hit me. What if I “give back” to the RPG industry by creating something to delight the children, the next generation of gamers? Could it not also feed the child within the adult? I started my coloring book project with images of things I loved and dreamt about when I was a little girl–mermaids, unicorns, dragons–then expanded it to include a centaur, a winged comic-book heroine with a lion, warrior women with different animal mounts etc…
It’s not only about the coloring. It’s about jump-starting the imagination and enticing new creative neural pathways to form and develop.
This is the way I’m making a modest contribution towards solving problems and offering solutions at the micro level. Yet, in terms of the collective, by adding my piece to a new story, I’m helping to change the conversation. My micro becomes a mega when viewed from the perspective of the collective. At the core is the quiet force of Feminine Power.
The transformative properties of Feminine power are effective because it works from the inside. Residing just under the surface within timeless time, The Feminine broadly understands and works with complexity, bridges ideas in novel and surprising new ways and offers brilliant solutions for all aspects of society. My art is my contribution. As I add my essence to the collective dream, the time ripens for the emergence of a new paradigm of cooperation, a world revolution from the inside-out.