Tobias-D. Albert
Main textures for the bell project for St. Nikolai Leipzig.
The texts for the bells were given. I wanted to create an overall concept for all bells. A parish is always an encounter of different individuals, of people with their own stories, their own ideas of life. That creates tension. They are the basis for a living community, even beyond a parish. Just like the bells are heard in the city, not only in the parish. In a church, as well as in a city, different times and beliefs meet, which also creates tensions that, if they are to remain alive, must be related.
Additionally, the Lutheran church is very much devoted to the Word.
All this I tried to realize by the initially calligraphically developed textures to a visual experience. Letters from different times mix here. Forms from a profane and sacred context are mixed and melt to one still readable text.
I first improvised for the textures with a narrow Pilot Paralell Pen. Then I enlarged selected textures to a format of approx. A1–A0. In order to have a working basis, I transferred the calligraphic compositions with a carpenter pencil to the larger format. I wrote the final texture over that. At the same time I allowed myself to improvise the letterforms.
The next step was to digitize and adapt the textures to the curved surfaces and sizes of the different bells. More about this in the next post.
Main textures for the bell project for St. Nikolai Leipzig.
The texts for the bells were given. I wanted to create an overall concept for all bells. A parish is always an encounter of different individuals, of people with their own stories, their own ideas of life. That creates tension. They are the basis for a living community, even beyond a parish. Just like the bells are heard in the city, not only in the parish. In a church, as well as in a city, different times and beliefs meet, which also creates tensions that, if they are to remain alive, must be related.
Additionally, the Lutheran church is very much devoted to the Word.
All this I tried to realize by the initially calligraphically developed textures to a visual experience. Letters from different times mix here. Forms from a profane and sacred context are mixed and melt to one still readable text.
I first improvised for the textures with a narrow Pilot Paralell Pen. Then I enlarged selected textures to a format of approx. A1–A0. In order to have a working basis, I transferred the calligraphic compositions with a carpenter pencil to the larger format. I wrote the final texture over that. At the same time I allowed myself to improvise the letterforms.
The next step was to digitize and adapt the textures to the curved surfaces and sizes of the different bells. More about this in the next post.