A quiet corner of  Wiggle Room , a group show of three contemporary jewellers and one typographer at Bowen Galleries Wellington, January 2016  Amelia Pascoe, Moniek Schrijer, Matthew Macintyre Wilson and Sarah Maxey  Drawing from  Stabilising the Hall of Memories , a process zine published and riso-printed at Ilam Press, 2016

A quiet corner of Wiggle Room, a group show of three contemporary jewellers and one typographer at Bowen Galleries Wellington, January 2016

Amelia Pascoe, Moniek Schrijer, Matthew Macintyre Wilson and Sarah Maxey

Drawing from Stabilising the Hall of Memories, a process zine published and riso-printed at Ilam Press, 2016

 Two dear friends prepare dinner together. The knife cuts right through the chopping board that they received as a wedding gift 25 years before.   You are the call and I am the answer, You are the wish, and I the fulfilment, You are the night, and I the day. What else? It is perfect enough. It is perfectly complete. You and I, What more—? Strange, how we suffer in spite of this!   DH Lawrence, from  Look! We have Come Through!

Two dear friends prepare dinner together. The knife cuts right through the chopping board that they received as a wedding gift 25 years before.

You are the call and I am the answer,
You are the wish, and I the fulfilment,
You are the night, and I the day.
What else? It is perfect enough.
It is perfectly complete.
You and I,
What more—?
Strange, how we suffer in spite of this!

DH Lawrence, from Look! We have Come Through!

 As I approached the Museum I was stopped by a security guard. ‘ Stop, ma’am, you can’t go in there. They’re stabilising the Hall of Memories. ’

As I approached the Museum I was stopped by a security guard. ‘Stop, ma’am, you can’t go in there. They’re stabilising the Hall of Memories.

  Every Dog has his day but this one taketh the Prize therefore buy Him a deserving collar, feed Him and walk Him.    His Yap in the high country driveth home the sky-flocks, his clattering Feet are the claws of the pelting rain.    A distant quake is his Growl  *  in the deserts of Kadesh, his Whine warneth Lebanon’s leaves of the burglar Time.    Dog the heavens call him whose Bark and Bite alike shall be praised for ever in the temples of man.   ‘Psalm’, by CK Stead, from his collection  Dog , (AUP)  * This is about where the handletterer ran out of Dog

Every Dog has his day
but this one taketh the Prize
therefore buy Him a deserving collar,
feed Him and walk Him.

His Yap in the high country
driveth home the sky-flocks,
his clattering Feet
are the claws of the pelting rain.

A distant quake is his Growl *
in the deserts of Kadesh,
his Whine warneth Lebanon’s leaves
of the burglar Time.

Dog the heavens call him
whose Bark and Bite alike
shall be praised for ever
in the temples of man.

‘Psalm’, by CK Stead, from his collection Dog, (AUP)

* This is about where the handletterer ran out of Dog

 Gig poster for Ebony Lamb’s band Eb & Sparrow.  Self-portrait © Ebony Lamb.

Gig poster for Ebony Lamb’s band Eb & Sparrow.

Self-portrait © Ebony Lamb.

 ‘ Hurry up and open a heavenly little place where I can come and have you cook for me ’  Kelda Hains, the head chef and owner of  Rita , a small but perfectly formed fine dining restaurant in Aro Valley Wellington, commissioned a typographic installation. She gave me a sheaf of letters from her grandmother Rita to read for inspiration. Rita never saw Kelda’s heavenly place, but she is immortalised in the name of the restaurant and the large quote on the dining room wall.

Hurry up and open a heavenly little place where I can come and have you cook for me

Kelda Hains, the head chef and owner of Rita, a small but perfectly formed fine dining restaurant in Aro Valley Wellington, commissioned a typographic installation. She gave me a sheaf of letters from her grandmother Rita to read for inspiration. Rita never saw Kelda’s heavenly place, but she is immortalised in the name of the restaurant and the large quote on the dining room wall.

  I’m all ears, but it’s complicated.   Drawing for the Dulux Colours of New Zealand limited edition artists print range, 2014  Letterpress printed by Magpie Press.  Project in collaboration with Inhouse Design

I’m all ears, but it’s complicated.

Drawing for the Dulux Colours of New Zealand limited edition artists print range, 2014

Letterpress printed by Magpie Press.

Project in collaboration with Inhouse Design

 L   O            S    T  W       I   T                H              O              U      T  Y      O                    U

L O
S T

W
I T
H
O
U T

Y
O

U

 Steel street number for the Petherick/Belletts, using Domaine by Klim Type Foundry, rusting up nicely.

Steel street number for the Petherick/Belletts, using Domaine by Klim Type Foundry, rusting up nicely.

  Once more down to the beach dear friends, once more!   The Christmas greeting from The Designer’s Institute of New Zealand, 2012

Once more down to the beach dear friends, once more!

The Christmas greeting from The Designer’s Institute of New Zealand, 2012

 In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:  DOWN RIVER RIVER FLAT FLAT CALM CALM DOWN

In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:

DOWN RIVER
RIVER FLAT
FLAT CALM
CALM DOWN

 In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:  DOWN RIVER RIVER FLAT FLAT CALM CALM DOWN

In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:

DOWN RIVER
RIVER FLAT
FLAT CALM
CALM DOWN

  Judges’ comments:  … Its strengths are the least immediately obvious, but a closer look shows how a series of wonderful decisions … all contribute to a book that is simply a joy to read. In the end, it was this ability to achieve maximum effect through minimal means that meant it was selected as the overall winner. The typographer works with a limited palette, and Maxey’s control of that is about as good as you will ever see.  PANZ Book Awards, 2009

Judges’ comments: … Its strengths are the least immediately obvious, but a closer look shows how a series of wonderful decisions … all contribute to a book that is simply a joy to read. In the end, it was this ability to achieve maximum effect through minimal means that meant it was selected as the overall winner. The typographer works with a limited palette, and Maxey’s control of that is about as good as you will ever see.

PANZ Book Awards, 2009

 Len Lye, a biography by Roger Horrocks, (AUP)

Len Lye, a biography by Roger Horrocks, (AUP)

  Judges’ comments:  Sarah Maxey’s cover uses a gritty image and a hard, grainy paper to evoke the poems. The word ‘collected’ is semi-hidden—poetically compacted to form the O of ‘poem’. The reader is challenged even before opening the book.  PANZ Book Design Awards, 2009

Judges’ comments: Sarah Maxey’s cover uses a gritty image and a hard, grainy paper to evoke the poems. The word ‘collected’ is semi-hidden—poetically compacted to form the O of ‘poem’. The reader is challenged even before opening the book.

PANZ Book Design Awards, 2009

 First Impressions Second Thoughts Third Degree  Cover for  Meanjin2 , 2012

First Impressions
Second Thoughts
Third Degree

Cover for Meanjin2, 2012

 Dustjacket, cloth binding, green foil debossing, head and tail bands, printed endpapers, satin ribbon.   The Vintner’s Luck , Elizabeth Knox, (VUP) 10th anniversary limited edition hardback.

Dustjacket, cloth binding, green foil debossing, head and tail bands, printed endpapers, satin ribbon.

The Vintner’s Luck, Elizabeth Knox, (VUP) 10th anniversary limited edition hardback.

 A lovely floral tipple from Smith & Co boutique winery. In collaboration with Helen Milner Studio.

A lovely floral tipple from Smith & Co boutique winery. In collaboration with Helen Milner Studio.

 Darlings, start at the tail of the d and follow the ribbon all the way round to the top of the a  Personal drawing, 2013

Darlings, start at the tail of the d and follow the ribbon all the way round to the top of the a

Personal drawing, 2013

 Is there room for doubt? I think so.  From  Stabilising the Hall of Memories , 2016

Is there room for doubt? I think so.

From Stabilising the Hall of Memories, 2016

   Phew, that was a near thing.    From  Stabilising the Hall of Memories , 2016

Phew, that was a near thing.

From Stabilising the Hall of Memories, 2016

 X-RAY  Here’s a picture of my life—no heart of gold, silver tongue or will of iron,  just the bones of the story surrounded by clouds.  I would have disappeared but my bones spoke up—  like Mrs Roentgen’s—   I have seen my death  ,  she said, and went on living  Andrew Johnston, from  Fits & Starts , (VUP) 2016

X-RAY

Here’s a picture of my life—no heart of gold,
silver tongue or will of iron,

just the bones of the story
surrounded by clouds.

I would have disappeared
but my bones spoke up—

like Mrs Roentgen’s—
I have seen my death,

she said, and
went on living

Andrew Johnston, from Fits & Starts, (VUP) 2016

  Me: Do you read me?   My friend Alan:  Loud, and reasonably clear   Drawing for cover of collection by Andrew Johnston, 2014

Me: Do you read me?

My friend Alan: Loud, and reasonably clear

Drawing for cover of collection by Andrew Johnston, 2014

 For The Dowse gallery shop, 2013

For The Dowse gallery shop, 2013

  Fits & Starts , by Andrew Johnston (VUP) 2014

Fits & Starts, by Andrew Johnston (VUP) 2014

 A quiet corner of  Wiggle Room , a group show of three contemporary jewellers and one typographer at Bowen Galleries Wellington, January 2016  Amelia Pascoe, Moniek Schrijer, Matthew Macintyre Wilson and Sarah Maxey  Drawing from  Stabilising the Hall of Memories , a process zine published and riso-printed at Ilam Press, 2016
 Two dear friends prepare dinner together. The knife cuts right through the chopping board that they received as a wedding gift 25 years before.   You are the call and I am the answer, You are the wish, and I the fulfilment, You are the night, and I the day. What else? It is perfect enough. It is perfectly complete. You and I, What more—? Strange, how we suffer in spite of this!   DH Lawrence, from  Look! We have Come Through!
 As I approached the Museum I was stopped by a security guard. ‘ Stop, ma’am, you can’t go in there. They’re stabilising the Hall of Memories. ’
  Every Dog has his day but this one taketh the Prize therefore buy Him a deserving collar, feed Him and walk Him.    His Yap in the high country driveth home the sky-flocks, his clattering Feet are the claws of the pelting rain.    A distant quake is his Growl  *  in the deserts of Kadesh, his Whine warneth Lebanon’s leaves of the burglar Time.    Dog the heavens call him whose Bark and Bite alike shall be praised for ever in the temples of man.   ‘Psalm’, by CK Stead, from his collection  Dog , (AUP)  * This is about where the handletterer ran out of Dog
 Gig poster for Ebony Lamb’s band Eb & Sparrow.  Self-portrait © Ebony Lamb.
 ‘ Hurry up and open a heavenly little place where I can come and have you cook for me ’  Kelda Hains, the head chef and owner of  Rita , a small but perfectly formed fine dining restaurant in Aro Valley Wellington, commissioned a typographic installation. She gave me a sheaf of letters from her grandmother Rita to read for inspiration. Rita never saw Kelda’s heavenly place, but she is immortalised in the name of the restaurant and the large quote on the dining room wall.
  I’m all ears, but it’s complicated.   Drawing for the Dulux Colours of New Zealand limited edition artists print range, 2014  Letterpress printed by Magpie Press.  Project in collaboration with Inhouse Design
 L   O            S    T  W       I   T                H              O              U      T  Y      O                    U
 Steel street number for the Petherick/Belletts, using Domaine by Klim Type Foundry, rusting up nicely.
  Once more down to the beach dear friends, once more!   The Christmas greeting from The Designer’s Institute of New Zealand, 2012
 In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:  DOWN RIVER RIVER FLAT FLAT CALM CALM DOWN
 In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:  DOWN RIVER RIVER FLAT FLAT CALM CALM DOWN
  Judges’ comments:  … Its strengths are the least immediately obvious, but a closer look shows how a series of wonderful decisions … all contribute to a book that is simply a joy to read. In the end, it was this ability to achieve maximum effect through minimal means that meant it was selected as the overall winner. The typographer works with a limited palette, and Maxey’s control of that is about as good as you will ever see.  PANZ Book Awards, 2009
 Len Lye, a biography by Roger Horrocks, (AUP)
  Judges’ comments:  Sarah Maxey’s cover uses a gritty image and a hard, grainy paper to evoke the poems. The word ‘collected’ is semi-hidden—poetically compacted to form the O of ‘poem’. The reader is challenged even before opening the book.  PANZ Book Design Awards, 2009
 First Impressions Second Thoughts Third Degree  Cover for  Meanjin2 , 2012
 Dustjacket, cloth binding, green foil debossing, head and tail bands, printed endpapers, satin ribbon.   The Vintner’s Luck , Elizabeth Knox, (VUP) 10th anniversary limited edition hardback.
 A lovely floral tipple from Smith & Co boutique winery. In collaboration with Helen Milner Studio.
 Darlings, start at the tail of the d and follow the ribbon all the way round to the top of the a  Personal drawing, 2013
 Is there room for doubt? I think so.  From  Stabilising the Hall of Memories , 2016
   Phew, that was a near thing.    From  Stabilising the Hall of Memories , 2016
 X-RAY  Here’s a picture of my life—no heart of gold, silver tongue or will of iron,  just the bones of the story surrounded by clouds.  I would have disappeared but my bones spoke up—  like Mrs Roentgen’s—   I have seen my death  ,  she said, and went on living  Andrew Johnston, from  Fits & Starts , (VUP) 2016
  Me: Do you read me?   My friend Alan:  Loud, and reasonably clear   Drawing for cover of collection by Andrew Johnston, 2014
 For The Dowse gallery shop, 2013
  Fits & Starts , by Andrew Johnston (VUP) 2014

A quiet corner of Wiggle Room, a group show of three contemporary jewellers and one typographer at Bowen Galleries Wellington, January 2016

Amelia Pascoe, Moniek Schrijer, Matthew Macintyre Wilson and Sarah Maxey

Drawing from Stabilising the Hall of Memories, a process zine published and riso-printed at Ilam Press, 2016

Two dear friends prepare dinner together. The knife cuts right through the chopping board that they received as a wedding gift 25 years before.

You are the call and I am the answer,
You are the wish, and I the fulfilment,
You are the night, and I the day.
What else? It is perfect enough.
It is perfectly complete.
You and I,
What more—?
Strange, how we suffer in spite of this!

DH Lawrence, from Look! We have Come Through!

As I approached the Museum I was stopped by a security guard. ‘Stop, ma’am, you can’t go in there. They’re stabilising the Hall of Memories.

Every Dog has his day
but this one taketh the Prize
therefore buy Him a deserving collar,
feed Him and walk Him.

His Yap in the high country
driveth home the sky-flocks,
his clattering Feet
are the claws of the pelting rain.

A distant quake is his Growl *
in the deserts of Kadesh,
his Whine warneth Lebanon’s leaves
of the burglar Time.

Dog the heavens call him
whose Bark and Bite alike
shall be praised for ever
in the temples of man.

‘Psalm’, by CK Stead, from his collection Dog, (AUP)

* This is about where the handletterer ran out of Dog

Gig poster for Ebony Lamb’s band Eb & Sparrow.

Self-portrait © Ebony Lamb.

Hurry up and open a heavenly little place where I can come and have you cook for me

Kelda Hains, the head chef and owner of Rita, a small but perfectly formed fine dining restaurant in Aro Valley Wellington, commissioned a typographic installation. She gave me a sheaf of letters from her grandmother Rita to read for inspiration. Rita never saw Kelda’s heavenly place, but she is immortalised in the name of the restaurant and the large quote on the dining room wall.

I’m all ears, but it’s complicated.

Drawing for the Dulux Colours of New Zealand limited edition artists print range, 2014

Letterpress printed by Magpie Press.

Project in collaboration with Inhouse Design

L O
S T

W
I T
H
O
U T

Y
O

U

Steel street number for the Petherick/Belletts, using Domaine by Klim Type Foundry, rusting up nicely.

Once more down to the beach dear friends, once more!

The Christmas greeting from The Designer’s Institute of New Zealand, 2012

In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:

DOWN RIVER
RIVER FLAT
FLAT CALM
CALM DOWN

In 2012, I returned to the river town I grew up in after a 28 year absence. With some ambivalence I painted the word ‘COMEBACK’ around the central dome of the Sarjeant Gallery Whanganui, one letter for each side of the octagonal room, and scrawled this into the empty alcove:

DOWN RIVER
RIVER FLAT
FLAT CALM
CALM DOWN

Judges’ comments: … Its strengths are the least immediately obvious, but a closer look shows how a series of wonderful decisions … all contribute to a book that is simply a joy to read. In the end, it was this ability to achieve maximum effect through minimal means that meant it was selected as the overall winner. The typographer works with a limited palette, and Maxey’s control of that is about as good as you will ever see.

PANZ Book Awards, 2009

Len Lye, a biography by Roger Horrocks, (AUP)

Judges’ comments: Sarah Maxey’s cover uses a gritty image and a hard, grainy paper to evoke the poems. The word ‘collected’ is semi-hidden—poetically compacted to form the O of ‘poem’. The reader is challenged even before opening the book.

PANZ Book Design Awards, 2009

First Impressions
Second Thoughts
Third Degree

Cover for Meanjin2, 2012

Dustjacket, cloth binding, green foil debossing, head and tail bands, printed endpapers, satin ribbon.

The Vintner’s Luck, Elizabeth Knox, (VUP) 10th anniversary limited edition hardback.

A lovely floral tipple from Smith & Co boutique winery. In collaboration with Helen Milner Studio.

Darlings, start at the tail of the d and follow the ribbon all the way round to the top of the a

Personal drawing, 2013

Is there room for doubt? I think so.

From Stabilising the Hall of Memories, 2016

Phew, that was a near thing.

From Stabilising the Hall of Memories, 2016

X-RAY

Here’s a picture of my life—no heart of gold,
silver tongue or will of iron,

just the bones of the story
surrounded by clouds.

I would have disappeared
but my bones spoke up—

like Mrs Roentgen’s—
I have seen my death,

she said, and
went on living

Andrew Johnston, from Fits & Starts, (VUP) 2016

Me: Do you read me?

My friend Alan: Loud, and reasonably clear

Drawing for cover of collection by Andrew Johnston, 2014

For The Dowse gallery shop, 2013

Fits & Starts, by Andrew Johnston (VUP) 2014

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