17. FRAGMENTS

By using reclaimed and weathered pieces of local Ham stone and inscribing fragments of Roman capitals, I hope to achieve an authentic experience with these 'relics'.

Ham stone, 100x160x50mm

16. PAPERWEIGHT

'It is big enough so that a whole alphabet doesn't looked cramped & not so small as to look mean.'

An italic alphabet carve into a hand shaped oval slate. At an x-height of 10mm this is by far the smallest alphabet I have carved – every tap to the chisel was crucial. 

Welsh slate, painted off-white, 100x120x15mm

15. FLOURISHED CAPITALS

These flourished capitals are the accompaniment to the preceded lowercase version (14.FLOURISH). Designed to complement but not mimic, they work in harmony together yet maintain strength individually.

Welsh slate, painted off-white, 305x381x20

14. FLOURISH

'AS TO THE SLATE... IT PLEASES ME SO MUCH, NOT JUST BECAUSE OF THE QUALITY OF THE CUTTING (WHICH IS FAULTLESS), BUT ALSO BECAUSE OF THE ELEGANCE AND THE WIT OF THE DESIGN. AS I LOOKED AT IT FROM A DISTANCE, IT GAVE THE IMPRESSION THAT SOMEONE HAD JUST SWEPT ACROSS THE SLATE WITH ONE MOVEMENT OF A BRUSH OR PENCIL. IT IS SPLENDIDLY FLUENT.'

Welsh slate, painted off-white, 305x381x20

13. A GOOD LAUGH

A welcoming sentiment, hung in view as you enter home. Carved in a beautiful piece of native English oak with an interesting live edge.

English oak, 1300x250x30mm

12. CONCENTRIC ALPHABET

Spacing these twenty-seven characters to fit around two concentric circles provided a great design challenge resulting in some creative ligatures and wonderful swashes. The addition of an ampersand is used as a device to both divide the alphabet, yet carry the viewers eye from the outer portion ending P to the inner beginning Q.

Welsh slate, painted off-white, 330x330mm

11. CAPITAL R

'I love the slate. Everything about it in fact. The letter itself is lovely – its high waistedness, the choices you made in the design of the diagonal and it's meeting with the curve, the serifs which are delightful, playful & perilously, wonderfully thin. Then the stone itself. It has a presence as an object that adds to the overall experience, perfectly counterbalanced with the delicacy of the letter itself.'

Welsh slate, painted off-white, 165x205x20mm

09. JEAN-PIERRE

Carved directly into this bench, I hope this subtlety provides reminiscence with integrity and sincerity.

Teak bench, letters 30mm

08. WELCOME

An exhibition piece celebrating David Kindersley's centenary year with the Cardozo Kindersley Workshop. Flourished lowercase italics, designed to be set flat.

Exhibited at Agnew's Gallery with Patrick Bourne & Co. London.

Caithness stone, painted off-white, 530x330x70mm

07. EXCHANGE

A mutual exchange with calligrapher Adelina Pervanje (@adelinawrites).

'I couldn't have imagined it if I'd wanted to, it's so unique & gorgeous. Seeing the letters so up close is really something; details like the little lines that run through the letters and the little triangles that form at the serifs are just so beautiful. I'm blown away by the flourishing, I literally can't imagine how you manage to cut such soft and perfect curves into stone. A treasure indeed and beyond anything I expected.'

Welsh slate, painted off-white, 75x25mm

06. RECLAIMED

Beautiful reclaimed hardwood, with warm colours and a striking contrast between the heartwood and sapwood. Large Roman capitals representing initials have been carved into the face.

Reclaimed hardwood, treated with linseed oil, 66x92x20mm

05. GIVEAWAY

An Instagram giveaway received by calligrapher Chantelle Hoffmann @bespokestrokes.

'It is amazing! I absolutely love seeing the minute chisel marks and marveling at your ability to transition the cut depth at the ends of the strokes. Plus, lets be honest, Q is the most difficult letter in the alphabet to nail with such symmetry.'

Caithness stone, painted off-white, 70x70x10mm

04. IN LOVING MEMORY

Through design and lettering, I hope to provide beautiful evidence of life and remembrance. As this memorial weathers into its natural environment it becomes furthermore quiet and humbling.

Oak, treated with linseed oil, 245x360x60mm

03. JEWELLERY

Hand shaped beads for various applications, from jewellery to ornament. Meticulously adorned with flourished initials.

Welsh slate, painted off-white, 18mm

02. DAILY BREAD

A rustic breadboard, carved edge to edge with the names of five hills that surround the Somerset village of Chiselborough. The underside has the ergonomic addition of finger-grooves to ease portability.

Oak, treated with beeswax, 525x310x20mm

01. APPRENTICE ALPHABET

This is where it began; these Roman capitals were the very first letters I cut in stone, under the guidance of the Cardozo Kindersley Workshop.

Welsh slate, unpainted, 155x370x20mm