Join me and co-curator Dana Heffern for the opening reception of Rucksack, a group exhibition, at Burlington College in Burlington Vermont on Thursday August 28, 2014 from 4pm-7pm.


This spring I was honored to letter a pack called All American Grit for Go Media, a Cleveland, Ohio-based studio that offers great design for web, branding and print. Go Media are also the presenters of Weapons of Mass Creation, a 3-day festival in Cleveland of insightful talks, workshops and performances by and for creatives.

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Part of the All American Grit Lettering Pack

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Here’s a little bit more info about the pack and my process:

“This lettering pack is all-American! It includes words that we associate with America’s strong work ethics and American-made pride. During my recent travels to Germany, Italy, Switzerland and Austria I encountered some people’s opinions about American-made products and the general impression was that American-made is usually equated with ‘well-made’.

As a calligrapher I mainly engage in non-modified lettering, where the first go is the only go for a word, sentence, paragraph or page. And if it doesn’t come out the way I intended I either accept the results or do it over. The lack of editing has helped me to relax and embrace a certain flow when I letter.

The tools I used for this pack include the Japanese-made pointed pen Nikko G nib (originally designed for Anime artists), German-made Haff ruling pen (originally an architectural tool) , homemade cola pen (yes, the writing tip is made out of a small piece of a Coca Cola can), various square edge brushes and the beloved American-made Sharpie.”





Many thanks to The Gallery at Burlington College for having me as their March virtual artist on their online gallery. It was so much fun to document some random and some not-so-random lettering. A special thanks to Burlington College’s curator and Chair of Visual Arts, Dana Heffern for all the support and guidance! And now to enjoy the  Águas de Março.


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Wise Words


out to dry


Originally posted on Calligraphy Arts:


This year is winding down. I’ve collected some words and put them out to dry.

View original

Clayton's "Entering the Curve" workshop was held in the Peter Cooper Suite, as known as the Clock tower.

Clayton’s “Entering the Curve” workshop was held in the Peter Cooper Suite, also known as the Clock tower.

In early June, I attended the 3-day weekend workshop Entering the curve: an introduction to five hundred years of cursive writing 1150-1650 at Cooper Union’s Type@Cooper in New York City.  Ewan Clayton, a professor of design at the University of Sunderland, UK and co-director of the International Research Centre for Calligraphy, instructed the workshop, whose attendees were a mix of seasoned and novice calligraphers with diverse academic and occupational backgrounds. Most of the calligraphy classes and workshops I’ve taken over the years have focused on technique rather than the history of calligraphy; therefore, this seminar’s historical perspective was of real interest to me.

Clayton is a great storyteller, who fascinated the class by making history come alive with his engaging stories, many of which will likely be in his soon-to-be released book, The Golden Thread: A History of Writing. One interesting thread Clayton discussed regarding calligraphic hands throughout the centuries was the ‘re-purposing’ of fast hand versions of formal hands, which were then formalized into newer and slower variations. For instance, Roman minuscules were developed from a fast hand version of Roman capitals and later formalized into carolingian. Clayton illustrated the transformation of the Roman capital ‘H’ into the lowercase ‘h’ by lettering it quickly, where each stage revealed how the upper right corner of the letter diminished.

One of the highlights of the workshop was Clayton’s demonstration and instruction on quill cutting. The quills we used were shed naturally and each student had an opportunity to cut their own quill and later practice writing cursive hands with it. The Cutting Quills segment was recorded and edited by fellow Type@Cooper faculty member Hannes Famira and can now be viewed online.

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The workshop was well balanced with plenty of time for us to practice many types of cursive hands and also discuss their historical applications. I especially enjoyed lettering Humanistic exemplars, which is a hand that has strongly influenced modern-day type design. According to Type@Cooper‘s program director and faculty member Cara Di Edwardo, who visited during the workshop, “The humanistic hand of the 15th century is the most important model for lowercase letters. Those printers who set up shop in Italy in the 15th century and the French printers of the early 16th century modeled the first Roman typefaces from the contemporary book hand, humanistic. These early designs have been revived many times in the 20th century and are prized by fine printers. In the pedagogy of typeface design, the humanistic hand is fundamental to understanding the anatomy, weight distribution, and proportion of text faces.”


Page from the Book of Hours of Giovanni II Bentivoglio, Bologna, c. 1497-1500, humanist minuscule with decorations.

Clayton’s Entering the curve workshop gave me a better understanding of the origins and development of many cursive hands. It was certainly worth the journey down to NYC from New Hampshire and I look forward to learning more about the history of writing in his upcoming book.

Ewan Clayton’s The Golden Thread: A History of Writing, published by Atlantic Books, will be available in the UK on September 5, 2013 and February 11, 2014 in the USA.

The Golden Thread

Following is the publisher’s synopsis of the publication.

The Golden Thread is an enthralling and accessible history of the cultural miracle that is the written word. It is an invention that has been used to share ideas in every field of human endeavour, and a motor of cultural, scientific and political progress.

From the simple representative shapes used to record transactions of goods and animals in ancient Egypt, to the sophisticated typographical resources available to the twenty-first-century computer user, the story of writing is the story of human civilization itself. Ewan Clayton marks each step in the historical development of writing, and explores the social and cultural impact of every stage: the invention of the alphabet; the replacement of the papyrus scroll with the codex in the late Roman period; the perfecting of printing using moveable type in the fifteenth century and the ensuing spread of literacy; the industrialization of printing during the Industrial Revolution; the impact of artistic Modernism on the written word in the early twentieth century – and of the digital switchover at the century’s close.

The Golden Thread raises issues of urgent interest for a society living in an era of unprecedented change to the tools and technologies of written communication. Chief amongst these is the fundamental question: ‘What does it mean to be literate in the world of the early twenty-first century?’ The Golden Thread belongs on the bookshelves of anyone who is inquisitive not just about the centrality of writing in the history of humanity, but also about its future.



In February 2013 I had the pleasure of being part of Takt Kunstprojektraum artist-in-residence (AIR) program in Berlin. The winter residency group consisted of 10 international artists including myself. The AIR participants engaged in a wide range of media and research, which included sculpture, bricolage, photography, painting, video and anthropological studio visits. We lived and worked in studios in the Friedrichshain and Prenzlauer Berg East side neighborhoods. Our group exhibition, Colligere, was held at Kunstraum Tapir and was curated by Paola Bonino. Bonino incorporated many of the diverse styles of the resident’s work into a collective exhibition that both united and also honored individual forms of expression. A few of the artists also held additional exhibitions and readings in other Berlin spaces during their residency. The residents also received weekly critiques from Isabel Manalo, who is represented by Addison/Ripley and is also the director and founder of The Studio Visit. The program directors, Antje Görner and Bernhard Haas, were very resourceful and kind. They provided opportunities for residents to meet with others in the Berlin contemporary art community and organized social and educational events for us to attend. Antje and Bernhard were also very helpful with mundane requests (like needing a hammer for my grommets or finding Oblaten for my 90 year neighbor back home).

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This silver lining needs refining (in collaboration with Hugh Rennison) * Berlin * 2013 * Handwritten quotation, gouache, wire, card * 59,4 cm x 42 cm

quote: “The only joy in the world is to begin. It is beautiful to live because living is to begin again in every moment.” – Cesare Pavese

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Bewusstsein * White River Junction, Vermont, USA * 2013 * Vinyl, paper, ink, wood and metal * 147,32 cm x 59,69 cm

exhibition copy by Paola Bonino:

Bewusstsein consists of discarded handwritten notes collected by the artist for about three years. They are primarily to-do lists from places she has been to recently. As a calligrapher, Di Piazza is concerned about the practice of penmanship, which is fading in our modern digitized world. However, these thrown-out notes indicate that people are still writing, even for seemly unimportant things. After collecting them, Di Piazza bound these lost pieces together with thread. In the resulting work, the artist combines two different elements – the concept of Bewusstsein (awareness) and discarded to-do lists – in order to highlight their contrast in terms of our mental-state of time. It is hard, in fact, to be in a state of awareness during our daily lives, when we are preoccupied with thoughts of the before and worries of the thereafter. The to-do lists, often created for remembering the most mundane chores, are focused on accomplishing tasks in the near future. Perhaps they are chores we want to forget but become a nuisance when we do. Do we create these to-do lists because we hope we will later be in such a state of Bewusstsein (awareness in the present) that will we likely forget the things we must do? The piece was also created using a vinyl garment bag whose function is to be ‘suspended’, thereby serving its primary purpose of protecting a garment. The garment bag was chosen to emphasize that time is suspended too when we are in the present state of Bewusstsein.

Calligraphy by Laura Di PiazzaPhotograph by Jakob OttCalligraphy by
Laura Di Piazza
Photograph by
Jakob Ott


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