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ABOUT THE ARTWORK
Coris 'C' Super vibrant Sign Acrylic sign painted on 20cm x 20cm x 0.6cm hardwood ply attached to 20cm x 20cm x 2cm cradled panel. Modelled on Japanese early 'Showa Era’ package design ( for chewing gum ) and painted in the warm tones reminiscent of the times, this painting demonstrates the ‘human’ accuracy of freehand sign writing with crisp lines and uniform shapes. Coris 'C' is part of the "Letterallsorts" series of paintings which is a celebration of single character typography and it’s inter relationship with combinations of colour and design. The artist’s appreciation and love of graphic design and package design from the 1920’s right through to the 1970’s (pre computer age) can be seen as an influence in this work. Finished in hard wearing gloss clear and signed on the reverse side, this unique painting would make a great accompaniment to any room. Sit it between books on bookshelf, rest it among Knick Knacks on a mantlepiece or hang it directly onto a wall. Collect one, collect them all!
Original Created:
2020
Subjects:
Materials:
Mediums:
DETAILS AND DIMENSIONS
Print:
Giclee on Canvas
Size:
16 W x 16 H x 1.25 D in
Size with Frame:
17.75 W x 17.75 H x 1.25 D in
Frame:
White
Canvas Wrap:
White Canvas
Ready to Hang:
Yes
Packaging:
Ships in a Box
SHIPPING AND RETURNS
Delivery Time:
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:
Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:
Printing facility in California.
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Letter allsorts
Australia
Originally schooled in Sign writing and later Scenic Art, in 2010 I began exploring and developing techniques in the treatments of typography by means of ( for example ) painting , sanding, masking and the overlaying of type and letter shapes. The original concept of my work was inspired by various weathered sign written signs I had seen mostly high up on the sides of buildings in Melbourne's CBD and also on walls of it's surrounding inner suburbs. It was around this time that I started developing more of an interest in vintage graphic design, package design and vintage typography, and whilst my explorations into letter treatment for the most part remained the same, the focus of my work broadened as I began to consider layout and design, spacial awareness and colour (and it's tones ). By implementing these new concepts and coupling them with my ongoing explorations into typography, I was able to lay the foundations of the style of work that would follow and which continues to be a feature of my work today.
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