Through a series of questions and answers, you will get to discover a Canadian calligrapher. I asked Marta Stojanovic to be my first interviewee because Marta was the recipient of the John Whitehead Award in June 2015, an impressive token of appreciation for her continuous contribution to the CSO and its activities. I am grateful Marta embraced this initiative with her usual and contagious enthusiasm. Thank you Marta for your generosity!
- Q: How did calligraphy come into your life?
- It has been a lifelong affair. I started writing when I was 3. Having a good handwriting, I frequently filled out diplomas and certificates for my teachers while in elementary and high school. In 1993 I came upon an ad in the newspaper for a course in calligraphy by professor Aleksandar Dodig from the School of Applied Arts in Belgrade. Luckily he mentioned “nice handwriting” in the ad, or otherwise I wouldn’t have known the meaning of the word calligraphy. At that difficult time in Serbia, we could not get fancy pens or ink, so most of our calligraphy was done with reeds and walnut ink.
- Q: What inspires you for your calligraphic projects?
- Most of my inspiration comes from the words I’m writing. Almost all of the design process is paperless, mostly in my head, and it can last for weeks. The works usually end up having several hidden meanings and symbolisms, and each one has a story to tell. I also draw inspiration from looking at other calligraphers’ works; from workshops and classes; from shapes around us; from nature; from my higher self. Inspiration is everywhere. We just need to learn how to look.
- Q: Do you have a routine and a special space for doing calligraphy?
- I work on my dining room table. I will play with my design a couple of times, experimenting with ideas. Sometimes I ask my family or friends for help in choosing a design, but at the end it’s my decision. The execution of the final piece might take a couple of tries. I let the pen guide me and like to get lost in the process. Calligraphy is like meditation for me.
- Q: What is your preferred script?
- I’m most at ease with italic script. But my preferred script is the most recent one I discovered in a workshop. These days it’s all about pencil, since my latest workshop was with Amity Parks.
- Q: What are your preferred tools (e.g. nibs, writing liquids, papers, reference book/magazine, website, blog)?
- I like the roughness of a cola pen, and its effects on cold-pressed (rough) paper. I have used and like most types of nibs. When pressed for time (almost always), I use Pilot Parallel pens. Nowadays I really love to use pencil. In fact, I think I’ll be doing most of my envelopes for the Envelope Exchange in pencil. Pencils are easy to carry on vacation and are very forgiving. I love using gold leaf (that’s a bit I learned from Georgia Angelopoulos). It adds that instant interest. Facebook is a fantastic source of calligraphy works. Most of the world-renowned calligraphers post their work there regularly.
- Q: How long have you been with the CSO, and what do you enjoy most about our guild?
- We moved to Ottawa from Quebec City in 2000; I came to a meeting and was thrilled to find so many fantastic calligraphers in one place. I did take a four-year break when I gave birth to my daughter Ana, but returned as quickly as I could. Now Ana is also a member of the CSO! I can’t pinpoint what I enjoy most. I love the people at the meetings, they are all very kind. There’s a wealth of knowledge in CSO, and one only has to ask. Classes and workshops are my me-time, my spa-like treatments. I love the gallery table: I love seeing how quickly people go from absolute beginners to quite good calligraphers.
- Q: What workshop or instructor has had the most impact on you as an artist?
- I carry a piece of my professor Dodig in me, especially his expressiveness and speed of writing. I am impatient and have a hard time working on pieces where every letter needs to be perfect and much attention is on details. The manuscript course with Judy Bainbridge helped me a lot to develop such patience. Then there’s Roberta’s fantastic designs, Rick’s ruling pen mastery, both of which I strive to achieve. Marina’s wonderfully written and illustrated books. Karen’s mixed media. Joan’s colouring pencils. I also learn a lot from younger CSO members: Jim’s Thunderwords, or Kevin’s meticulous lettering and illustrations. The list can go on and on … Besides, every single instructor who gives a workshop leaves a trace in us.
- Q: Can you share a tip or advice from your experience?
- Here are a few tips. Take time to relax and connect with your tools before jumping to do a piece. Ask for help and then listen and learn. Analyze your script and make it better next time. Try new things. Photograph your pieces. Observe more experienced calligraphers (how they hold the pen, how they set up their work space, etc.). Be critical of your work but learn where to stop, even if it’s not perfect. Carry a parallel pen or a pencil and a small notepad around and practice while waiting in for an appointment. Use the knowledge you gained from a workshop right away so it makes a better imprint on you. Above all, enjoy the process.