Logo in Roman Capitals

I finished the big logo design in Roman capital lettering on Friday. Scanned and sent it to the graphic designer immediately.

Today, the graphics designer already sent a couple of iterations back for comments from both me and the publisher (my client, who also happens to be my husband).

The Process -- in case you're curious
1. Traced and then drew Romans for a couple of months. Hadn't studying them in depth before so I got some excellent models including ones adapted from the carved Trajan column in Rome.
2. Did lots of thumbnails of possible designs as they came to me. Showed to client at various points.
3. Did several final sketches after I felt like I could really play around with Romans (proportions, spacing, serifs, curves, etc.). Got more direction from client.
4. Got the publisher's approval over the initial draft.
5. I took that design to my calligraphy instructor who made some good weight and spacing suggestions.
6. Redid my design and that's what I sent to the graphic designer, who has more experience with Adobe and graphics than I do. Also, always good to get more professional eyes on a project this big. When finished, the logo will be seen by thousands around the world.

Calligraphy: Is it Outsider Art?

Christopher Calderhead, a leading calligrapher and editor of Letter Arts Review recently posted a very accessible image-heavy lecture on Calligraphy: Is it Outsider Art?

In it, Calderhead examines how calligraphy is and is not integrated into the larger art community.

Calligraphy: Art or Craft?
One of the frequent discussions I heard in calligraphy circles revolves around this question. Calderhead graphs how he views this, giving calligraphy 3-prongs: fine art, craft, and graphic design. In my mind, I've always combined craft and graphic design, but I can see why he's made them distinct. However, I like how he points out how calligraphy is simultaneously many things, which is how I view it.

While the word, craft, often has some derogatory tones, as in "just a craft", I think of calligraphy in terms of William Morris' Arts and Crafts movement. To me, craft often rises to cultural high points, equally worthy of fine art in both time and money. When I'm addressing envelopes, this is the level I strive for. Ditto for graphic designs I do like logos and book titles.

But to say calligraphy is only a craft leaves out many pieces which hang well on the wall, which are fine art, and can compete with other fine art categories. For instance, the pieces that I've done for the CR Gallery, my illuminations, and some of my card images.

So, I found Christopher's take on the art vs. craft question interesting as well as his general take on engaging the greater art field.