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The second graphic story of David Kindersley, the designer craftsman following Eric Gill as the foremost lettercutter of the 20th century. You track the apprentice to the young master, through years of war, family, friends. And always of buoyant invention: in letter design and spacing, alphabets, inscriptions and portraits.
Delving into the earliest archives of the Cardozo Kindersley Workshop gives us a snapshot of these first steps in David Kindersley’s journey to mastery, from leaving his apprenticeship with Eric Gill in 1936, to settling into his own workshop in Cambridgeshire in 1945.
Some time ago Chris Kington asked Lida Kindersley to conduct a guided tour of Kindersley Workshop inscriptions in central Cambridge for local members of the Royal Society of Arts. There are plenty of inscriptions to be seen.
Chris’s thank you letter came in the form of a poem. In consequence, he became the Workshop’s Poet-in-Residence. Fifty two of the poems he composed in this role are found in Red Letters All. They brilliantly convey the atmosphere of the Workshop—its workings, lettering, stones and other materials, tools, archives and skills—and take us to a world beyond time and place; a world where we see more than we thought.
Lettercutting being a visual artform, Lida felt the book would benefit from photographs. She and Chris had the good fortune of knowing Charles Chadwyck-Healey, whose sharp and sensitive eye she had long admired. His colour photographs perfectly complement the poet’s work.
The result is an inspiring mix of poetry, photography and the subject of its principal focus: lettercutting.
Set of postcards
The graphic story of David Kindersley growing up: the designer craftsman following Eric Gill as the foremost lettercutter of the 20th century. Discover the seeds of an adventurous life in this boyhood tale – because you have already seen Kindersley Street (the typeface of this book) on every street corner, throughout your own life.
To celebrate David Kindersley's Centenary, his son Hallam conceived the idea of a pack of playing cards illustrating his work and legacy. Each card would feature a design by David or by Lida, his wife and present head of the Kindersley Workshop, or by both jointly; all produced in the Workshop in Cambridge, from David's time to the present day.
David Kindersley’s story of his apprenticeship with Eric Gill: half a century on from its first publication, this entirely new edition, with fresh illustrations, carries great historic interest. Fiona MacCarthy, the renowned Eric Gill biographer, characterizes it in her foreword as a ‘first hand account, so full of atmosphere and detail’.
This anatomy card game celebrates the work of Andreas Vesalius in the quincentenary year of his birth. The illustrations are taken from his De Humani Corporis Fabrica.
This game was inspired by Paul Lopes Cardozo, Professor of Medicine at Leiden University, author of the Atlas of Clinical Cytology. It was created by his daughter Lida, who also designed the typeface Emilida used throughout. These 52 playing cards and the two jokers can also be used as regular playing cards.
‘Cutting into the Workshop’ is the final volume in the Cambridge University Press series celebrating David Kindersley and the Cardozo Kindersley Workshop. 136 scintillating pages tell the story of David Kindersley and the Workshop, from his youth, and apprenticeship with Eric Gill, through to the remarkable achievements that established his reputation as the lettering man of the second half of the 20th century.
Personal memorials make up a wonderful heritage, from Westminster Abbey or St Paul’s Cathedral to the smallest village church. They commemorate the great as well as the humble. And they please both those who believe and those who don’t. So why is it quite hard now to have them installed ?
In 2010 it was 'Cutting through the Colleges', in 2011 'Cutting across Cambridge' (all published by Cambridge University Press), and now the best yet: the whole county!
Kindersley inscriptions in the city and university
Cutting through the Colleges is a guided tour of the many inspiring Kindersley inscriptions to be found in Cambridge University’s 31 colleges.
This book is about the thinking behind the design and cutting of the classic Roman capital letterform and the philosophy that underpins it in the Cardozo Kindersley Workshop.
This book aims to throw some light on the process of commissioning lettering, clearly setting out the triangular relationship between patron, artist and material.
Why do we cut letters in stone? To make them last. Why do we want to make them last? This book explores this question, and the value and significance or lettercutting.
Out of stock
Art in hospitals is now seen as important to the morale of both patients and staff. The hospital approached David Kindersley in the 1960s and began a long collaboration which continues to this day.
A reprint of the original work from the 1950s showing how David Kindersley worked out a formula for typesetting systems that automatically finds the correct letter spacing.
The continuing success of the workshop and her belief in the value of apprenticeship has convinced Lida of the urgent need to draw attention to this endangered practice.
The making of gravestones in the Kindersley Workshop.
14 Booklets, 16 pp each.
Workshop philosophy and practice in the making of letters. Fully illustrated with examples of their work in slate.
Catalogue to the exhibition held at Kettle's Yard Cambridge and Yorkshire Sculpture Park, Summer 2000.
A history of the Benedictine monks of St Albans Abbey from 1077 to 1401, followed by an account of the archaelogical dig. The book explains why abbots were re-buried, and how their names were carved in the slate that covers their new grave.
The letters are Caroline miniscule from the 9th century as is the poem by Hrabanus Maurus, Archbishop of Mainz.
Two striking alphabet designs by the country's leading post-war letter-carver and typeface designer, the late David Kindersley, have been printed onto linen to make unusual tea towels.
Blue tea-towel out of stock