Buried in the archives of the British Museum is this wonderful series of lithographs from illustrator Charles Joseph Hullmandel that transforms the English alphabet into sweeping landscapes. Hullmandel was one of the most important figures in the advancement of British lithography in the first half of the 19th century. These particular pieces were produced sometime between 1818 and 1860 and you can see the full collection here. (via Juxtapoz)
This beautiful visual accompaniment to Ira Glass’ iconic quote about the creative process was created by Daniel Sax after encountering a similar video by David Shiyang Liu that was shared extensively back in 2012. Great to see such a wonderful sound bite still inspiring people to make new stuff. (via Quipsologies)
Designer Cameron Moll recently announced a new Kickstarter for a letterpress print of the Brooklyn Bridge constructed entirely from typography. Moll worked entirely in Adobe Illustrator to draw the artwork, and while some sections can be copied and pasted roughly 70-80% of the characters in the artwork were positioned, sized, and rotated one by one. To give you an idea of what the final piece will look like you can see two similar works the designer previously designed, Colosseo and Salt Lake. See more over on Kickstarter.
Self-taught artist Glen Weisgerber is a master pinstriper who has been in business since the early 1970s painting all matter of truck lettering, race cars, logo designs, guitars and bike customizations. This summer Airbrush Action Magazine filmed Weisgerber doing a number of different hand lettering tutorials including single stroke lettering, and chrome lettering. It’s almost a miracle to see each letterform leave his paintbrush so fully formed and perfect. If I was asked to make a list of 100 guesses of what this man was about to demonstrate based on his looks alone, I don’t think pinstriping would have crossed my mind.
In this brief video graphic designer and illustrator Seb Lester demonstrates a form of Medieval blackletter typography that was used commonly in Europe from 1150 to around the 17th century. From a person whose handwriting is almost completely illegible, almost every stroke of his pen looks like a complete miracle. (via vimeo)
While primarily working as a landscape painter and art teacher, UK artist Jamie Poole was struck with the idea of deconstructing printed poems into individual words and using the text to create large scale portraits. The final pieces are quite large measuring several feet tall, allowing for excruciating detail in both line and shadow, as well as creating an intriguing hybrid of portraiture, typography, and collage. You can see more images of Jamie’s work on his blog and in his Flickr stream. If you liked this, also check out the work of Evan Wondolowski and Lola Dupre. (via junk culture)
When viewed head on, what at first looks like typography on top of a simple photograph reveals itself to be well-executed anamorphic typography by Chicago designer Thomas Quinn. The illusion is created using a standard light projector that projects the intended design on an uneven surface which is then carefully painted. From every other angle the work looks skewed and almost illegible, but when you stand at just the right spot everything seems to pop into place. You can see many variations of anamorphism right here on Colossal, and don’t forget the absolute master of the art form, Felice Varini. (via this isn’t happiness)
Just last week Colossal featured the work of Hong Seong Jang who used the long aluminum sticks of moveable type to create miniature cities. Now we have the figurative sculptures of artist Dale Dunning who welds together lead type and other hardware to create intricate masks and heads. Of his work Dunning says:
The head that has been featured in my work for the last 13 years is a generic, simplified form not specific to gender, devoid of detail, resembling an egg. The head is universally recognized, easy to identify with. We live in our heads, see, feel, and experience the world in our head. It serves as the foundation upon which I can develop various paths to explore.
Though I’m struck by the the final shape of his figures, I find myself almost more intrigued by the processes Dunning must utilize to create them. I’m told that the last piece above, Constellation 1/1, is made from 900 welded bolts and washers and I can’t even imagine how one would embark on such a time-consuming process. You can see much more of his work here. All images courtesy Oeno Gallery. (via my amp goes to 11)