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I started conceptualizing the idea for a Horror/Dark font back in 2009. After a few had drawn drafts I refined the idea and decided the font should look somewhat like stitched patches of leather with interlacing lines to represent the stitching. My initial work was too complex for smaller font sizes, so I sacrificed a lot of the details I had originally envisioned for the simpler representation shown here. I purposely made the letters sporadic and non-uniform with various bumps and line height to give the font more of a unorganized and disturbed natural feeling similarly derived from classic ransom notes cut from magazines.
It is very close to completed in 2014 and I plan on finishing the font later in the future.
– Steve Jobs
Found some untouched powder deep in the glades of the beaten path at Breckenridge. Wish I had a GoPro, maybe in the future. I relied on my cell phone to capture the action as I took a decent pace through the trees. Enjoy!
Simon Patterson requested photographs of the George Washington monuments in Brooklyn and Manhattan for his new creative art concept. I spent a beautiful day in New York city with my Canon T3i DSLR 18 megapixel camera photographing the two George Washington statues from a variety of perspectives. The high resolution photographs taken were rendered with excellent clarity, blue skies, lots of strong highlights, and deep shadows from a sunny day in the big apple. I then selected the best high resolution .CRW (raw) photographs by viewing them first in Adobe Bridge and then secondly in Adobe Photoshop. I then compiled a PDF of the best images using Adobe Acrobat, zipped the folder content and then uploaded them to a server for the artist to download at his convenience.
Simon Patterson: Under Cartel from Haunch of Venison. Simon Patterson mentions Joe Sturges, photo contribution (Pictures of the George Washington statues in Brooklyn and Manhattan) to his project at 2:16.
“His new exhibition at Haunch of Venison focuses on equestrian statues. Patterson has collected together photographs of about 30 different monuments from across the world. He has arranged these photographs in pairs on the wall, flashing neon arrows pointing from one to other. Patterson is suggesting that each pair could swap their locations: Napoleon I in Cherbourg could change places with the Duke of Wellington on Hyde Park Corner, for example, or maybe Joan of Arc in Paris and El Cid in Andalucia could exchanges positions. On the floor underneath each pair of photographs stand one or two other images of equestrian sculptures. These are other alternative options; if Napoleon did not suit the position in London, perhaps Edinburgh’s Boer War memorial to the Royal Scots Greys might work better.”