Today we’d like to introduce you to Mike Gold.
Hi Mike, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
How did I become a calligrapher? I came to hand lettering as a professional at a company called Ad Art, famous for their extravaganza signage in Las Vegas and Reno. They designed and built the iconic Stardust Casino sign in Las Vegas. I had a great art director, Ken Young, who taught me to mind my p’s and q’s, and most especially my s’s, which often looked like fish hooks that he would draw fishes on. Back then I drew letters and typefaces by hand, did renderings for the sales force, and got my feet wet doing logos and commercial work. One day while visiting a small gallery near Sacramento, California, where I lived and worked, I saw the work of contemporary calligraphy master Thomas Ingmire and had an epiphany: that was the work I was supposed to be doing, had dreamed of doing. I had no idea calligraphy could look like so fresh, so abstract, so exciting. In the following couple years, I was exposed to the work of Georgia Deaver, Brenda Walton, Carl Rohrs, and John Stevens. I had no idea calligraphy could look like what they were doing either. The work was dynamic and not old fashioned.
I began taking classes with local teachers, then moved on to workshops with calligraphy masters. For a couple years, I studied with Jenny Groat, who made me learn the basics before she would consider teaching me how to do the big, beautiful, abstract paintings that captured my attention in her studio. That was where my heart was. Jenny was headstrong and opinionated, and she kept me focused on the rules and the basics. She never quite fit into the calligraphy world at the time because of the abstract work she was doing, and she distanced herself from that world, finding more acceptance abroad, especially in Japan. The calligraphic impulse was alive in her work and the images she created stick with me to this day. For me, at the time, I still needed to learn and wanted to pursue lettering full-time. To further hone my skills, I did correspondence study with British master Gaynor Goffe. All this practice got me a job as a commercial lettering designer at American Greetings, which meant moving to Cleveland, Ohio. I worked for over a quarter-century at the company and continue to reside in Cleveland. I’ve written a book on contemporary calligraphy, written articles for Letter Arts Review and other publications, and been fortunate to teach contemporary calligraphy both online and in-person around the world.
My time at American Greetings, the third largest art studio in the country was incredibly enriching. I learned a lot and grew as an artist. During the day, I wrote words meant to communicate; outside of work, I pursued more experimental work where the visual was more important than the verbal and where I could work more spontaneously.
Early on, some of my biggest breakthroughs came from collaborative efforts. I became part of a collective of eight calligraphers. We called ourselves “Scribes 8.” With Scribes 8, I studied with masters of different mediums, produced works for shows, created numerous editioned portfolio sets, produced a book with poets on the letter A, learned about collaboration, and got to work closely with some amazing artists. My work with Scribes 8 continues to push and inspire me.
I also collaborated with my colleague at work, Judy Melvin. I found that I loved playing with letters as line, shape, and form more than perfecting traditional letter forms and creating traditional work. One of the pieces I did with Judy wound up on the cover of Letter Arts Review, the leading publication for the calligraphic arts, and lead to us teaching workshops together.
Both of us sought to express the essence of a text or idea without having to be too literal. The art we created was inspired by an Asian approach to calligraphy and by many predecessors and contemporaries.
After Judy left Cleveland, I did further collaborations with a couple other colleagues at work, Terri Long and Le Buu.
Over the last fifteen years or so I’ve mostly worked on my own, developing a practice that builds on the traditions of the past, influenced by art and artists of all kinds. Being a calligrapher in the 21st century, I have matured in my art at a time when calligraphers are moving calligraphy in new directions, creating new traditions, just as all artists have done over time. I still make beautiful letters and write out texts, but I also explore the abstract, the illegible, and the conceptual.
The painter Joan Miró said, “If you have any notion of where you are going, you will never get anywhere.” I think that’s a good way of describing my approach. My passion is practicing calligraphy as an art form, in pushing calligraphy beyond the legible and functional. To do this, I’ve had to look at what we as calligraphers can do differently, which has meant changing rules and methods. For me, making contemporary marks and letters is only part of the challenge of making contemporary art. There is the task of making the marks mean something. I need to see the lettering as not just a means of conveying text, but also as a way to create mood, develop meaning, and provide a personal expression.
For me, calligraphy is also a form of meditation and sometimes a spiritual practice. Calligraphy was originally practiced by Muslims as a form of meditation by those seeking to capture the essence of universal harmony. Thich Nhat Hanh, probably the best known Zen master and peace activist in the world, practices calligraphy in this way. Frederick Franck, a doctor who worked with Albert Schweitzer in Africa before becoming an artist and Zen student, used drawing much the same way. It was his way to “see.”
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
My training as a calligrapher and commercial lettering designer has been an obstacle to overcome at times in doing more contemporary and expressive work, because even when I want to have bad letter spacing or make more naive characters, it’s a challenge. Even just letting go of the control you need as a calligrapher with the pen or brush isn’t always easy. Also, switching back and forth between commercial and personal work is not easy. The process and mind-set is totally different. But I wouldn’t trade the work I put in as a ca-ligraphy and lettering student for anything; the benefits have far outweighed the disadvantages.
Early on, the biggest challenge was wondering if I could make a living as an artist. I had tried my hand at editorial cartooning, but I visited an editorial cartoonist at a major newspaper and he said he spent 10 years being supported by his spouse before getting a steady job. I spent a few years working as a graphic designer because jobs as a lettering designer are few are far between. I also tried my hand at being a freelance lettering artist, but I wasn’t a good businessman and hated all the marketing and negotiations.
I feel very fortunate to have found a job specializing in the letter arts that also allowed me to make a living.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
As I’ve noted, I specialize in hand lettering, focusing now on creating contemporary calligraphic art. I’m known in the calligraphic community for the teaching and art I do. My work has appeared in many publications and journals and I’ve authored a small booklet called Lines to Live By: Thoughts on Being a 21st Century Calligrapher. I’ve been a juror for Letter Arts Review’s annual juried issue, which is the leading international publication for the calligraphic arts. I’ve taught in Australia, Germany, Canada, and throughout the United States. I’m most happy when I can inspire other calligraphers to explore calligraphy as an art form and find their own calling. I also am grateful for my 30-plus year association with Scribes 8, a group of New Mexico artists that works on collaborative projects and researches new forms of expression.
How do you think about happiness?
Family comes first and is the source of much of my joy in life. My wife is an artist and my advisor and biggest support. My two boys also love to draw and still spend time with us. That said, I love my time playing and experimenting and planning workshops. I love time in nature. And I love to golf, which provides a much needed escape from everything.
Contact Info:
- Website: https://www.mikegold-letterarts.com/
- Instagram: goldie2452
