Compass Road by Iain Sinclair

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I was hoping to get my delayed 2011 calendar launched today but other work needed completing so here’s an interim post.

Think of your journey through mortality as a sequence of valid movies and the pain is ameliorated. Forget the tedious 60-minute division of the lecture hall or dead television (quartered by adverts): arrange just enough markers for the 90-minute slots of Golden Age cinema. And then it’s only a question of nominating the eight guides, culture-figures who will dominate your thoughts (and reveries) for as long as you stay upright. The road is endless, you aren’t. Iain Sinclair

There may be a recession on but people still keep putting out the luxury goods; maybe the bankers are buying all this stuff with their unwarranted bonuses. Compass Road is a limited edition wristwatch from Mr Jones Watches, London, and sports a design commissioned from writer Iain Sinclair, a somewhat surprising choice given that these things are more usually farmed out to those individuals we have to call celebrities. Sinclair is too intelligent and interesting to be a mere celebrity and consequently designs a watch I’d probably buy if I had an excessive income. The watch middle and the hands are based on the British road signs designed by Margaret Calvert and Jock Kinneir while the typeface used for the compass points is Calvert and Kinneir’s Transport (below) which is also used across Britain’s road signs. For the destinations Sinclair has chosen eight writers with London associations: John Clare, Gerald Kersh, Bram Stoker, Joseph Conrad, William Blake, HG Wells, JG Ballard and Louis-Ferdinand Céline. The last seems an odd choice but he did work in London for a while.

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Sinclair’s design is a flexible enough to be applied to other literary cities which raises the question of which names you’d choose for Paris, say, or New York. And which signage systems? Subways or the local roads? Compass Road meanwhile can be yours for £145.

Weekend links: the Halloween edition

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Goddem with Attendants (1924) by Harry Clarke.

• Some of Harry Clarke’s extraordinary illustrations from Goethe’s Faust can be seen at A Journey Round My Skull. And a reminder for anyone who missed them, Clarke’s Poe illustrations at Golden Age Comic Book Stories.

HP Lovecraft – Audio Books, Radio Plays, & Audio Documentaries. Out-of-print recordings and (no doubt) pirate copies of more recent things. I found this page by accident so it was a surprise to see my 1999 Lovecraft portrait used there. I used to own the David McCallum Dunwich Horror, an album with a singularly appalling sleeve illustration.

• Better album sleeves can be found here: Prospective 21e Siècle, a collection of foil designs from 1967. Some of the very challenging music within can be downloaded at the Avant Garde Project archive. Related: Have an electroacoustic Halloween with Ilhan Mimaroglu’s Le Tombeau d’Edgar Poe (1964) and Wings of the Delirious Demon (1969).

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Star Trails and the Captain’s Ghost, a photo by Chris Kotsiopoulos at Astronomy Picture of the Day.

• “The horror industry is totally male dominated from its directors to its slashers, and even its bloggers…and I think that needs to change.” Day of the Woman, a blog for the feminine side of fear.

6 of the Scariest Queer Horror Books Ever. I think I’d agree with the commenter in picking The Haunting of Hill House by Shirley Jackson.

• Designer Jonathan Barnbrook (pictured in a graveyard by the looks of things) is interviewed at MyFonts.

A Weird and Scratching Beauty: The Art of John Coulthart and Call of Cthulhu.

Is the Royal Masonic School for Boys the scariest building in Britain?

50-million-year-old insect trove found in Indian amber.

The Café Kaput Samhain 2010 mixtape.

The Groovy Age of Horror.

Monster Mash (1962) by Bobby “Boris” Pickett & The Crypt-Kickers.

Steampunk overloaded!

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Yes, it’s the “S” word again, and if there was any doubt that this has been the Year of Steampunk here at Coulthart Towers, look at these recent works. And this is by no means everything I’ve been doing in this area, there’ll be further announcements later on.

The covers for KW Jeter’s novels are a pair of reprintings from UK publisher Angry Robot whose books will shortly be available in the US and Canada. Jeter is now famous—infamous, perhaps—for having given the word “steampunk” to the world in the early 1980s. This was intended as a jest after he and a couple of other writers (including a favourite of mine, Tim Powers) had written a number of science fiction novels set in the 19th century; like many light-hearted neologisms, it gained a life of its own. Angry Robot are reissuing two of these early works as a result of the ongoing steampunk explosion.

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Morlock Night (1979) is a pulpy affair which sees the Morlocks from HG Wells’ The Time Machine using the Time Traveller’s vehicle to return to Victorian London and wreak no end of havoc. Infernal Devices (1987) is a rather more substantial confection involving a great deal of clockwork mechanisms (for once the clock parts are justified!), automata, fish people, and a device capable of destroying the earth. I’ve been producing a lot of engraving collage à la Ernst and Sätty recently but the technique seemed especially appropriate here as a means of illustrating works which themselves are collages of Victorian motifs.

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Meanwhile, over at Tachyon Publications, there’s this cover for another Victorian adventure, two in fact, from master beserker Joe R Lansdale. Flaming Zeppelins combines a pair of comic adventures, Zeppelins West (2001) and Flaming London (2006), which feature a host of notable figures including Mark Twain, Annie Oakley, Buffalo Bill Cody…and a talking seal. Publication date is November 1st.

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Then from Tachyon in mid-November there’ll be Steampunk II: Steampunk Reloaded, a 430-page anthology edited by Ann & Jeff VanderMeer which includes fiction and non-fiction from William Gibson, Caitlín R Kiernan, Jeffrey Ford, Cherie Priest, and many others. Also a comic strip, copious illustrations and a very full-on interior design from yours truly of which I’ll only show you the above page for the time being. Yes, that’s a mechanical ostrich but if you want to know what it’s doing there you’ll have to read the book. More about this later. And more later about The Steampunk Bible to which I’m also a contributor, a glossy, full-colour guide to the entire sub-culture which will be published next year by Abrams. By the time that appears I’ll probably be sick of the sight of clockwork parts, dirigibles, florid typefaces and Victorian decoration; I’ll be needing a good dose of Helvetica and Josef Müller-Brockmann minimalism to calm down.

Previously on { feuilleton }
Skeleton clocks
Vickers Airship Catalogue
The Air Ship
Dirigibles
More Steampunk and the Crawling Chaos
La route d’Armilia by Schuiten & Peeters
The art of François Schuiten
Steampunk Redux
Steampunk framed
Steampunk Horror Shortcuts
The Airship Destroyer
Zeppelin vs. Pterodactyls

Charles J Strong’s Book of Designs

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Another gem from the cornucopia of scanned books at the Internet Archive, Charles J Strong’s Book of Designs was a style guide and motif resource for artists and amateur craftspeople tasked with the creation of advertising show cards or shop display signs. The book was first published by the Detroit School of Lettering in 1910, hence the heavy reliance on Art Nouveau flourishes which by this stage had degenerated from their Mucha-derived elegance into unbridled, and frequently undisciplined, rococo embellishments.

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If a few of the designs lack Mucha’s care there are still some great examples here of generic Art Nouveau in its final days before Art Deco streamlined all those curves away. In the examples below a poster suggestion shows everyone’s favourite fin de sìecle gal, Salomé, while the final example shows one of Strong’s typeface designs. For anyone who likes the look of these pages but would prefer them in better quality, Dover Publications have a reprint scheduled for later this year.

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The Art Nouveau dance goes on forever

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Catalogue for Art Nouveau Revival 1900 . 1933 . 1966 . 1974. Peacock feather not included.

Regular readers may recall my mention of the Musée d’Orsay exhibition Art Nouveau Revival which was launched late last year. I didn’t get to see the exhibition, unfortunately, but this week I finally ordered a copy of the catalogue, an expensive cloth-bound volume with essays (in French) by Philippe Thiébaut, Stephen Calloway, Irene de Guttry, Thierry Taittinger and Philippe Thieryre. Despite the ruinous postal charges incurred by the book’s weight this was worth every euro, it being the kind of polymorphous production which in solipsistic moments one can choose to believe was created solely for your own benefit.

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Aubrey again, album covers from 1974.

Much of the subject matter has been explored here in various small ways, with the curators following the influence of Art Nouveau through Surrealism (mainly Dalí) to the psychedelic art of the 1960s and on into the Pop Nouveau (for want of a better term) which flourished in the first half of the 1970s. Among the familiar Aubrey Beardsley graphics and psychedelic posters there are also some pleasantly surprising inclusions, including illustrations by Philippe Jullian (yes, I’m still intending on writing about him at some point), yet more Beardsley album covers, film posters, and even some of the sillier films of the late-60s such as Casino Royale. Being a French exhibition there’s a section devoted to comic strips which includes work by Moebius, Philippe Druillet and Guido Crepax.

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Sex and LSD, a spread from Playboy, 1967.

It’s common to see parallels drawn between the 1890s and the 1960s but the strange blooms of vulgarised fin de siècle style which burgeoned in the wake of psychedelia are seldom given much attention. One of the great things about this catalogue is the amount of ephemera the curators chose to include such as magazine ads and trend-chasing album sleeves. It was precisely this blend of 1890s + 1960s + 1970s I sought to capture in my recent cover for Dodgem Logic. As I said, it’s an expensive book but for anyone drawn to this aesthetic hothouse it’s also an essential purchase. Art Nouveau Revival can be ordered direct from the museum shop. Further samples follow.

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