caligrapher

“I probably think like this because I’m a calligrapher. Like the way the ink just delicately flows onto the paper, I hope to harmoniously infuse the world; live a happy and pretty life!”

“서예가라서 이런 생각을 하는 걸지도 모르겠어요. 종이에 먹물이 은은히 퍼지듯, 세상에 제가 조화롭게 스며들고 싶어요. 알콩달콩 행복하게!”

Summary of 2014 psat

  • YOU MUST BEDAZZLE YOUR ENEMIES
  • SORRY POTTERHEADS YOU WILL NEVER GET A PERFECT MOVIE ADAPTATION
  • GracielaXTheGrandCanyon
  • BE THE GRAND CANYON
  • feel the Grand Canyon
  • The boston guy cannot be the grand canyon
  • Skin animation is perty (it really is) 
  • IMPROVE THE THING
  • the crimson leaves are falling
  • Jasmine is a lucky gal
  • HOW TO TRAIN YOUR DOLPHIN- ER- HUMAN-ER- DOG
  • sensei is a disappointed, busy caligrapher

「酔」

ほろりと心地よい酔いに身を任せて、ついついもう一杯。時を忘れて盃を傾け、わたしの身体もいつの間にか傾き、次第に夜は更けていく。

“Got drunk”

You will see the character “酔” got totally drunk and is happily sitting back.

Street Art

Brusk is a graffiti and street artist from Paris. He develops creativity from an early age. His artworks include both figures and abstraction, realism or graphic clean. He has developed his unique style in street art by combining a calligraphic work in 3D, characters and staging.

10

The first sleeve concept I had for my Scobberlotchers LP was to borrow the hand-drawn lettering Derek Boshier used on Bowie’s 1979 LP Lodger, just because “-lotchers” sounds a bit like “lodger”, and Lodger is probably the Bowie LP that most influenced me as Momus.

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Using Japanese calligraphic ink and felt pens, I did a series of Boshier knock-offs, none of which satisfied me. Eventually the design went somewhere else altogether (a font called BrushScript, and a Japanese look). But researching the Lodger sleeve, I found a number of interesting things, some of which are glossed in this lecture Boshier gave in 2012 at the Chelsea School of Art:



Boshier was introduced to Bowie by photographer Brian Duffy, who took the photo on the Lodger sleeve (he’d also done the Aladdin Sane images, of course, and would shoot the half-obscured clown pictures on Scary Monsters too). The image was based on a Blake image of a man falling into hell, a classical motif Boshier had been using ever since a 1962 Royal College of Art exercise designed to direct students away from the clichéd commercial imagery of pop art. The barred, scarred lettering he used seems to have been developed for songbooks Boshier made for The Clash (Boshier taught Joe Strummer when he was at art school, and a chance meeting on the street led to Strummer asking his old tutor to make the second Clash songbook).

Of course, falling figures — men who fall to earth, like Icarus, referenced in a Bruegel painting and Auden poem in Nic Roeg’s film — were central to Bowie’s imagery, and in the case of the Lodger sleeve there was also a reference to the attempted suicide of the transvestite lodger in Polanski’s 1976 film The Tenant. More generally, the “lodger” imagery plays on themes of the temporariness of our stay on earth, the impermanence of what surrounds us, and the sense of cultural eclecticism, hybridisation and confusion brought on by extensive travel.

The barred lettering on the Lodger sleeve suggests a stitched wound, the kind you’d incur by jumping out of an apartment window onto a glass roof, as Trelkovsky does in The Tenant. But it also evokes the slashed and torn look of punk graphics, thanks to the Clash connection.

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I learned from the David Bowie Is exhibition that Bowie (in role as his alienated astronaut Major Tom) had ambivalent feelings about The Clash: the draft lyric of verse 1 of Ashes to Ashes ran: “And I hear The Clash and I don’t react / All this music’s so strange…”. Later, in interviews, he would contrast his indirect, surreal and impressionistic lyrics with the more direct and didactic approach of The Clash. But the Boshier typography does show that visually, at least, Bowie wanted to make some connection.

The postcard format of the Lodger sleeve also has a political angle which connects it to the lyrics of opening track Fantastic Voyage, with its talk of nuclear missiles. One of Boshier’s 1960s projects — an offshoot of his CND radicalism — was to get people in Prague to send postcards to people in London. Boshier chose the people with the commonest surnames in both cities (Novak and Smith) and supplied the blank postcards, asking that the Smiths and Novaks send friendly messages across the Iron Curtain.

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None of this was particularly relevant to my “post-Brexit” record, but it made for some interesting research. I also discovered that Derek Boshier dresses very well.