Notable more for the unusual name than the quality of the lettering, this increasingly degraded stone plaque sits on the frontage of a row of modest terraces in Lancaster, built around 1856.
This sign was revealed during the redevelopment of a building occupied by the University of Central Lancashire in Preston. The building was formally the Bradshaw’s Garage – Fordson car dealers, later converted to use by the University, then demolished during the building of new facilities..
LOcation: Marsh Lane, Preston. UK
This stone plaque with metal inset lettering commemorates the birth place of one of Lancaster’s more famous sons. Thomas Edmondson was the inventor the the Edmondson railway ticket, a system for recording the payment of railway fares and of issuing tickets that replaced the laborious process of hand-wriiten tickets. Edmondson, who originally trained as a cabinet maker, became a station master on the Newcastle and Carlisle Railway. His ticketing system was first introduced on the Manchester and Leeds Railway. The Edmondson railway ticket, made of card and measuring around 31mmx57mm, was printed in their hundreds of millions annually and was used across the UK railway network until 1990.
Location: Stonewell, Lancaster, Uk.
This carved stone block commemorates the former Green Ayre Train Station that stood at the banks of the River Lune. The station serviced passengers travelling between Morecambe, Lancaster and Yorkshire and was part of the line constructed in 1849. The line closed to passengers in 1966 and the station was demolished in 1978. The word ayre is derived from the of Old Norse ‘eyrara’, meaning gravel-bank within a stream or river.
This publication is a study of how letterforms, found on the buildings and memorials of the city of Lancaster, can be manipulated and changed to create new forms as the designs are translated from stone to paper.
Introducing transparency and overlapping the elements creates a feeling not only of movement, but of change: as if the letters were evolving or emerging. Parts of the letters seem to morph into others and new forms appear. Infinite variations are possible. Moving the space between the letters changes the forms again, creating new intermediate shapes—the inclining stem of one letter interacting with the cross-bar of another, or the intermingling of serifs that create a strange new design.
The result is a new and unexpected design: a variant of the letterform that is derived from the sum of the parts. These new letterforms are the ephemeral, infinitely variable and ghostly progeny of the static lithographs found in the city.
This publication, made with french and japanese papers and hand sewn, is available from my online shop.