PAPER
PAPER

The variety of textures, colours and thicknesses of paper ensure that the right one can be found for a piece of work. Each unique sheet of handmade paper has a life of its own. Letters bring the paper alive, responding to the spirit of the surface and the meaning of the text.

PAPER
PAPER

Here the letters are painted onto handmade Nepalese tissue which is pasted and wrapped around a board.

PAPER
PAPER

Letters made a quill on handmade paper from Minnesota. The rough texture of the paper is apparent through the paint.

CLOTH
CLOTH

Lettering on cloth opens up a huge array of possibilities for making work that can be hung, worn and move in many different ways. 

CLOTH
CLOTH

Delicate fabrics allow possibilities of layering. These letters are painted with a pointed brush.

CLOTH
CLOTH

Letters painted onto bark cloth.

VELLUM
VELLUM

Vellum is prepared calfskin, the traditional material for manuscript books over the centuries. The markings remain on this skin to give it a delicate pattern. 

VELLUM
VELLUM

A well-prepared skin is the best surface for paint and gold.

Vellum
Vellum

A sharp quill made from a goose or swan feather bites into the velvet surface of the skin.

STONE
STONE

Stone has a permanence that gives it value and dimension. The letters are painted onto the surface of pebbles. 

STONE
STONE

Letters carved into the surface of slate and stone have a long tradition for work of importance and memory. 

STONE
STONE

Hard surfaces such as walls allow direct lettering.  

FABRIC
FABRIC

Letters can be integrated within fabric rather than applied to its surface.

WOOD
WOOD

Inscriptions have been painted onto wood for generations.

P1010178_2.jpg
PAPER
PAPER
PAPER
CLOTH
CLOTH
CLOTH
VELLUM
VELLUM
Vellum
STONE
STONE
STONE
FABRIC
WOOD
P1010178_2.jpg
PAPER

The variety of textures, colours and thicknesses of paper ensure that the right one can be found for a piece of work. Each unique sheet of handmade paper has a life of its own. Letters bring the paper alive, responding to the spirit of the surface and the meaning of the text.

PAPER

Here the letters are painted onto handmade Nepalese tissue which is pasted and wrapped around a board.

PAPER

Letters made a quill on handmade paper from Minnesota. The rough texture of the paper is apparent through the paint.

CLOTH

Lettering on cloth opens up a huge array of possibilities for making work that can be hung, worn and move in many different ways. 

CLOTH

Delicate fabrics allow possibilities of layering. These letters are painted with a pointed brush.

CLOTH

Letters painted onto bark cloth.

VELLUM

Vellum is prepared calfskin, the traditional material for manuscript books over the centuries. The markings remain on this skin to give it a delicate pattern. 

VELLUM

A well-prepared skin is the best surface for paint and gold.

Vellum

A sharp quill made from a goose or swan feather bites into the velvet surface of the skin.

STONE

Stone has a permanence that gives it value and dimension. The letters are painted onto the surface of pebbles. 

STONE

Letters carved into the surface of slate and stone have a long tradition for work of importance and memory. 

STONE

Hard surfaces such as walls allow direct lettering.  

FABRIC

Letters can be integrated within fabric rather than applied to its surface.

WOOD

Inscriptions have been painted onto wood for generations.

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