Atom Bomber (and the Trinity Angel)

This is a new poster I did for the Poole Printmaker’s exhibition, which is part of Dorset Art Weeks. It’s called ‘City Sea’, and it’s part of Edgar Allan Poe’s poem ‘The City in the Sea’. The original plan was to do all the stanzas, but I ran out of type, so had to settle for the second stanza. The back layer ‘Death Looks Gigantically Down’ is set in 40line Sans Condensed wood type (manufactured by Day & Collins). The second layer is in 12line Winchester Bold wood type (Stephenson Blake),  6line Venetian wood type (DeLittle) and 60pt Temple Script. Final layer (the actual poem itself), is in 24pt Gill Sans Italic, and Gill Sans Bold. As usual, it was printed on 145gsm Zerkall Extra Smooth printmaking paper, on the Stephenson Blake S3 proof press.

One of my favourite sculptures from Henri Gaudier- Brzeska. In some places it’s called ‘Torpedo Fish’, in others it’s just referred to as ‘Ornament’. The original was carved out of a solid piece of brass, but this is a bronze cast. I’ve decided to spend the summer carving metal, and have lots of bronze, copper and gunmetal to keep me going.

javosironworks:

Albert Paley is one of my favorite artist blacksmiths. I enjoy his work but his gates are particularly inspiring. There was a post on tumblr this morning with one of his pieces and I wanted to share a few more. Check out his web site at www.albertpaley.com

Bio-

Albert Paley is the first metal sculptor to receive the coveted Institute Honors awarded by the American Institute of Architects, the AIA’s highest award to a non-architect.  “The allure of Paley’s art comes through its intrinsic sense of integration of art and architecture,” as one noted architect stated.

 

Albert Paley has been active as an artist for over 30 years at his studio inRochester, New York.

 

Commissioned by both public institutions and private corporations, Paley has completed more than 60 site-specific works. Some notable examples are the Portal Gatesfor the Renwick Gallery of the Smithsonian Institution in Washington DC, a sculpture and plaza designed for Adobe Systems in San Jose, CA, the Portal Gates for the New York State Senate Chambers in Albany, a plaza sculpture for AT&T in Atlanta, GA, a 65-foot sculpture for the entry court of Bausch and Lomb’s headquarters in Rochester, NY as well as major entrance rotunda gates for a State Courthouse in San Francisco, and the main entrance gates for the Naples Museum of Art, Naples, FL. 

 

Recently completed works include a sculptural relief for Wellington Place, Toronto, Canada, a pair of entrance sculptures for the Columbia Public Library, Columbia, Missouri, a 120-foot long entryway sculpture in Forrest park for the St. Louis Zoological Park, St. Louis Missouri, The Sentinel, a monumental plaza sculpture for Rochester Institute of Technology, and Threshold, an entryway sculpture for the headquarters of Klein Steel Services, Rochester New York.

 

Pieces by Albert Paley can be found in the permanent collections of many major museums including the Metropolitan Museum of Art in New York, the Museum ofFine Arts in Boston, the Museum of Fine Arts in Houston, and the Victoria andAlbert Museum in London, Western Australia, Fitzwilliam, British Museum.

 

Broadly published and an international lecturer, Paley received both his BFA and MFA from the Tyler School of Art in Philadelphia.  He received honorary doctorates from the University of Rochester in 1989, the State University of New York at Brockport in 1996, and St. Lawrence University, in Canton, New York in 1997.  He also holds an endowed chair at the Rochester Institute of Technology.

(via fadinghalo)

Blacksmithing I did on a course a few years ago. A rat-tailed poker and a rams-head toasting fork. Hoping to get to do some more blacksmithing some time soon.

Final version of the Poole Printmakers Letterpress Course poster. Yellow under-print in 12line Mansard Extra Bold and 48pt Heavy Script.  Blue over-print in 12line Winchester Bold and 5line Gill Sans. Black over-print in 48pt Heavy Script and 42pt Bodoni Italic. All printed on the Stephenson Blake S3 proof press.

Final version of the Type Tsunami poster. The fifth, black, layer was printed in 6line Venetian wood type, 48pt Heavy Script and 42pt Bodoni Italic. All the layers were printed on the Stephenson Blake S3 proof press.

One of the ‘Type Tsunami’ layers locked up in the press and inked.

Current work in progress. Four layers in, one layer left to go. This is the 2011 (slightly overdue) Stentor Press Type ‘Bestiary’.