Global Manuscripts – letteringdesign

Exploring Global Manuscripts
with the support of SNEAP

(L to R): Merri Klar, Amelia Kearney, Maria Adams, Lavell Thompson, Jennifer Pallo, Debby Reelitz, Aisha Edwards. Picture by Philitha Stemplys-Cowdrey

Celebrating Global Manuscripts with 2 portfolios. Art by Debby Reelitz, portfolios by bookmaker, Pat Faust

Debby Reelitz’s portfolio, part I

Debby Reelitz’s portfolio part 2

PART II: Southern New England Arts Apprenticeship Program
September 2022-June 2023

The Southern New England Apprenticeship Program is funded in part by the National Endowment for the Arts and supported by Connecticut Humanities, the Connecticut Historical Society, the Connecticut Office of the Arts (DECD), and the Mass Cultural Council.

We were so fortunate to continue our exploration of global manuscripts for a second year.

For the first half of this 9-month journey we explored Tibetan and Hebrew manuscripts and artistic traditions. The second half, we turned our creative attention to independent projects. It is a critical step to learn about illumination techniques, mimic and practice those techniques– and yet, it is a totally different step to look within and create and execute a design of one’s choosing.

During the fall, we were blessed to have a workshop with Tibetan monk, Yeshi and Hebrew artist, Amy Fagin.

The independent projects were wonderfully diverse. Jennifer Pallo studied pigments and binders to see how the traditional resources of illuminators were created. Merri Klar was inspired by contemporary illuminator Barbara Wolff and created a piece celebrating a family member’s bar mitzvah. Aisha Edwards reasearched the African heritage of the Christian tradition and honored the Biblical story of Esther with her project. Maria Adams created a Tibetan thangka following the traditional proportions of the Buddha. Lavell Thompson created a collection of pieces inspired by Tibetan art as well as a whimsical artwork of her home with Hebraic elements in the design. College student, Amelia Kearney, is an active advocate for protecting nature and designed an artwork lifting up those ideals. I created a sampler of many of the traditions we explored and highlighted some of my favorite manuscripts including the Garima Gospels from Ethiopia and the Bristol Psalter from Greece. While European, the Bristol Psalter was unique in it’s presentation of Biblical characters being of African descent.

The beauty of the Scriptorium, sharing ideas, resources, knowledge.

Lavell Thompson working on her illuminated home.

Yeshi demonstrating Tibetan calligraphy

Aisha Edwards with Yeshi.

Tibetan monk, Yeshi, sharing a thangka in process.

Amelia Kearney drawing guidelines to experiment with different lettering styles and sizes.

Drafts, drafts and more drafts! Merri Klar

Lavell Thompson explaining her idea for prayer flags.

Aisha Edwards with daughter showing how to get art done even when busy.

Amelia Kearney testing paint colors for her project

Jennifer Pallo with her sampler of pigments and binders.

Amy Fagin with the Scriptorium

Amy Fagin demonstrating the use of Instacoll

Philitha Stemplys-Cowdrey from the CT Museum of Culture and History joining us for a session on gold leaf.

Merri Klar gilding.

Amelia Kearney experimenting with metal leaf.

Aisha Edwards preparing drafts of a perspective drawing.

Jennifer Pallo preparing hide glue for her pigments.

Maria Adams experimenting with presentation ideas.

Maria Adams and Lavell Thompson talking about project variations.

Amelia Kearney painting the background for her lettering.

Aisha Edwards rocking it with the power tools.

Jennifer Pallo investigating Hawaiian clay as a potential pigment.

Jennifer Pallo preparing tempera for her pigments.

Maria Adams burnishing her gold leaf to her final project

Debby Reelitz’s image honoring the beautiful Garima Gospels.

Debby Reelitz’s final project celebrating the Garima Gospels, Bristol Psalter and the tezhip art of Islamic manuscripts

Aisha Edwards talked about her extensive research into the African heritage of the Christian community.

Amelia Kearney explaining the multiple versions of her project.

Jennifer Pallo shared her journey with pigments and binders.

Lavell Thompson discussed the challenges of gold leaf.

Maria Adams sharing the many skills that went into her thangka.

Merri Klar explaining her experiments on parchment.

Merri Klar created an board explaining all the experiments and failures that went into her final project.

Southern New England Arts Apprenticeship Program
September 2021-June 2022

The Southern New England Apprenticeship Program in traditional arts is funded by the National Endowment for the Arts and supported by the Connecticut Historical Society and the Mass Cultural Council.

I am extremely grateful for this grant that has allowed eight of us to spend nine months exploring non-European illumination techniques and manuscript traditions across cultures.

We explored cave art and manuscripts that originated from Ethiopia, China, the Islamic and Mayan worlds. Illumination has traditionally been Euro-centric and has excluded the beautiful manuscripts from Africa, the Middle East and even South America. For me, one of our biggest lessons from this chaotic past couple of years, is the critical need to look beyond the European traditions and explore the brilliance and diversity of other cultures. We used this apprenticeship journey to practice our illumination skills by studying non-European manuscripts and techniques.

It was an honor to mentor this inquisitive, committed and diverse group of women during this mind-expanding journey!

Front row (L to R): Maria Adams (in gray), Debby Reelitz, Asa Etienne-Modeste. Back row (L to R): Amelia Kearney (in blue), Lavell Thompson, Merri Klar, Aisha Edwards, Sue Lavoie.