i have also had an idea of just rolling a piece of metal to create a round tube like shape and spraying things onto it eg quotes etc. This is only an idea however and may not be used.

what now?

the idea now is to try and create some sort of catalogue, basically i will produce a small simple publication (bound and made simple but neatly like catalogues), and it will contain information about the artist, quotes etc. i will also produce a range of pages that will have his work on, i will however also add images of spoons etc and mix them in with those of his work. Therefore sticking to the idea that he was brought up with a silver spoon in his mouth and this has stuck with him and continued to pay his way. i will also drop very subtle hints to this in the type.

I LIKE THIS PARTICULAR PIECE BECAUSE IT PLAYS WITH TYPE TO MAKE THE IMAGE AND THEN THE SIMPLE STATEMENT ETC.


THIS IS A VERY POPULAR CLASSIC EXAMPLE OF TYPOGRAPHY BY DAVID CARSON, THE TYPE IS OVERLAYED IN THE BACKGROUND TO DARKEN THE LAYER AND THE LARGE TYPE IS IN WHITE OVER THE TOP.

TYPOGRAPHY

TYPOGRAPHY IS A MAJOR ASPECT OF GRAPHIC DESIGN, MANY ARTISTS SPECIALISE IN THIS PARTICULAR AREA OF DESIGN AS IT CAN HELP TO CREATE UNIQUE WORK. TYPOGRAPHY IS HOWEVER TRICKY, GET IT RIGHT AND IT CAN BECOME IMORTALISED. GET IT WRONG THEN IT CAN DESTROY THE WORK. IT GENERALLY COMES DOWN WHAT YOU WANT THE TYPE TO SIGNIFY AND WHAT YOU ARE TRYING TO SAY ETC.

FONT CAN BE BOTH VERY SIMPLE/EASY TO READ OR EXTRAVAGANT AND USELESS AND AGAIN THE USE COMES DOWN TO ITS PURPOSE. I HAVE BEEN LOOKING INTO TYPOGRAPHY AS I NEED TO PICK THE CORRECT FONT FOR THE PROJECT IM DOING.

BANKSY IS AN ARTIST WHO CREATES BOLD AND UNUSUAL STATEMENTS, HIS WORK IS GENERALLY GRAFITTI STYLED AND RANGES IN SCALE. I LIKE MOST OF HIS WORK, ITS NEW RANDOM AND EXCITING. I PARTICUARLY ENJOY THE WORK HE HAS CREATED IN NEW ORLEANS. I HAVE LOOKED INTO AND READ UP ON THIS ARTIST.

I THOUGHT THAT I MAY GENERATE IDEAS IF I LOOK AT OTHER ARTISTS THAT I FEEL MAY HELP:- IVE LOOKED AT BOTH ALAN FLETCHER AND BANKSY.

ALAN FLETCHER

FLETCHER WAS AN INSPIRING ARTIST HE HAS CREATED SOME EXCEPTIONAL WORK FOR A RANGE OF HIGH IMPORTANCE COMPANIES. HE HAS PRODUCED A RANGE OF BOOKS ON DESIGN AND OPENED DESIGN COMPANY.

SECTION FROM INTERVIEW EXPLAINING PRICE

His work now sells for a fortune. Which is lucky because it costs a fortune to make. I ask how much the piece in New York cost, and he comes over all coy.

"More than £10,000?" I hazard a guess.

"I'd say!"

"Surely not more than 100 grand?"

"I'd say!"

"More than 200 grand?"

"Actually, that's the last figure I'm going to go to. Much more than £200,000! Hahahahaha!" And the laughter echoes round the studio. "You can imagine to make something of that scale, 10m round, that's as big as a house, that's a big thing of polished stainless steel, it's incredibly difficult to do, first of all, and a very expensive thing to do."

What will they do with it in the end? "We'll sell it, I hope." At a profit? "Of course, millions and trillions! Hahahaha! From the outside, money makes no sense in the art world, but the truth of the matter is there's a logic to it. It's like any other commodity."

What's the most he's sold a piece for?

"I'm not going to tell you!"

I tell him I've read that one piece sold for £1m. "I would say there are some that have sold for much more than that. Talk to the Lisson Gallery and they will tell you. Hahahahaha!"

"Typically, a work of Anish's will go for somewhere between £75,000 for a small-edition piece to £700,000-£1m for a major work," says Nicholas Logsdail, the Lisson's owner. Logsdail met Kapoor at his graduation exhibition 25 years ago and they began working together soon after. "I walked into this room with pigment works on the floor and thought they were so powerful. Anish was in his mid-20s and was a shy, rather boyish-looking man."