Friday, 31 August 2012

NONEWSISGOODNEWS


Nothing seemed to be happening.



Not much for me to say, but in the proud tradition of the internet I will say it anyway. Look. I've been drawing a picture. I'm not sure how its going to turn out, but for aficionados of pointlessness, I've been using a Rotring Tikky Graphic 0.1 pen on a sheet of 750mm x 570mm deckle-edged watercolour paper, taped to a bit of hardboard. It is taking a very long time. It is like a giant doodle.
In other, related news, with exactly the same technology I drew this picture, which I hope will work as the foundation for the tshirts for the next and final leg of Radiohead's enormously gigantic tour:



And finally, a completely unrelated item regarding letterpress printing. Here is something that was printed using Victorian woodblock letters of an elderly proofing press situated on the back of a retired Milkfloat in a field in Somerset by myself, Mr Devlin Crease and Mr Cefmor Tallboy this 'summer'.



Nothing to see here. Move along please, ladies and gentlemen.

- 15th August 2012
http://www.slowlydownward.com/anonews.html

Thursday, 30 August 2012

Extract from Except by S. Donwood

<<But over there, to the east, everything is realistic and local as should be, except on fire.>>
from the story by Stanley Donwood:  Except
photo taken from a village in Bulgaria

Saturday, 25 August 2012

interpretation of I love the modern world (marching like dinosaurs across the landscape)

ying-yang of the modern world
(serbian landscape)









                              lets talk about the birds and the bees the flowers and the trees

                                                     (bulgarian landscape)












shine on me!







fight!!! in the middle of nowhere...
(bulgarian landscape)





cutcutcut








contemprary landscape
(bulgarian landscape)







contemporary pastoral romantic scene









plan A plan B urban ideas of what might happen...or not


all photos are based on the quote: marching like dinosaurs across the landscape, i love the modern world by S Donwood http://www.slowlydownward.com/hreference.html

Serbia, Bulgaria, London Views







bulgarian culture, stanley culture, pandemons


Friday, 3 August 2012

the artist about his methods of work

<<...The difficulty of working in the way I tend to is that the various fictions and theories I absorb solidify into a sort of cognitive concrete inside my skull, and after a while I can't distinguish fact from invention. They sacrifice children to stop the bridges from falling down. St Paul's stands on an ancient Druidic site. There are Underground stations far below the ones we know to service a subterranean train system in the event of nuclear war.>>

Thursday, 2 August 2012

blips collection part 1

video

blips collection part 2

video

blips collection part 3

video

Stanley's interview: kid a, blips, art, origins..and of course: irony


Stanley Donwood: heloxeni
XJ: Where are you based?
SD: hidden away in the oxfordshire countryside i also work in london and bath
XJ: How did you meet and begin working with Radiohead?
SD: met thom at college. began working with radiohead in er um 1994 i think my first thing was the cover for my iron lung then the bends etc etc
XJ: Can you give us an idea of how you and Thom typically collaborate or exchange ideas with regard to your visual work? And with regard to his songwriting?
SD: we drink a lot and then argue. thom stares with a mystified expression while i attempt to explain my debauched notions eventually we go out to the pub and glare morosely out of the window at the rising floodwaters
XJ: What are some of the sources and inspirations for the iconography in your work?
SD: kid a is a very agoraphobic record. everything is far away. so landscapes. the music makes shapes and colors that i tried to use i like old paintings of battles where the aries look like jewels scattered on mud but close up are performing a ballet of atrocity the paintings were started during that horror in bosnia so my feelings about that found their way in. fire. fields. i had an idea of an empty battlefield when everyone had gone. sort of metaphorical, if thats not too annoying kid a was the constant soundtrack/inspiration though.
red pools -- an idea stolen from a book by alan moore and bill sincowitz [not correct spelling] called brought to light they used swimming pools filled with blood to count those killed directly/indirectly by the CIA since WW2. average body holds a gallon. biggish swimming pool holds 50,000. lots of pools. i used them as swimming pools for pyramid hotels
XJ: I read somewhere that before their scheduled release date, a number of the "blip" videos you guys did for Kid A were "hacked out of a server at EMI." How did you feel about that?
SD: i fucking love it. emi reckoned they had a secure server - theres no such thing. they wanted to do some kind of pokemon style blip collecting thing but it didnt work as far as im concerned once we finished the blips they were free to gentically reproduce wherever they liked
XJ: How would you feel if a Radiohead fan created a new, totally unauthorized short video out of the "blips" you created with Radiohead for Kid A?
SD: id be very happy. there should be no copyright on the net. its our last/latest free place. steal what you like and use it to make great things
XJ: Who is Doktor Tchock?
SD: he is an intastella selecta who lives in the house of the stars has been known to visit planet dearth during artistic emergencies.

Pandemonium silkscreen

<< I had been spending time making large pictures of what, for convenience's sake I was calling 'Pandemons'; horned creatures, animals that were a composite of goat (herbivore) lion/tiger/shark etc (carnivore) and businessman (omnivore). I have always been fascinated by the horned gods, by the Minotaur in the darkness, by the beast that lurks in the shadows, by the presence that waits in the maze. 
I've got nothing against goats. I've got nothing against tigers, or sharks. I simply discovered that if I drew a goat, gave it the mouth of a rapacious carnivore and then dressed it in the suit and tie of a disgraced banker (or politician) it looked fucking evil.
Bankers and politicians wear suits and ties so they don't look like criminals. The Pandemons are horrible, feral, carnivorous lupine beasts, consumed by a naked, guiltless, ravening greed.>>
Stanley Donwood on El Chupacabra

Wednesday, 1 August 2012

a magnificent collage from the artist Stanley Donwood. A work that englobes some icons and images of the most famous of his works.

from ok computer to kid a to amnesiac and hail to the thief
on black canvas, the one he used for the series for the album
HAIL TO THE THIEF

Stanley (from the archive)>>>sorry was forgot was sorry forgot was sorry forgot was sorry....






http://blog.holaweg.com/ (archive)


Plantin

Some time ago we made the decision to print Holloway using a Monotype caster, which essentially means that we use molten lead and a casting machine to make fresh lead type to print the book.
The font we chose is Plantin, a typeface named after the printer Christophe Plantin. It was first cut in 1913 for the Monotype Corporation, and is based on a face cut in the 16th century by Robert Granjon. Plantin is one of the typefaces that influenced the creation of Times Roman in the 1930s.





The type is made by using a huge keyboard to punch holes in a paper tape about five inches high; the roll of tape looks like something that goes in a player-piano. The text is input ‘blind’; that is, the person doing it has only their memory to tell them where they are in the text and whether or not they’ve made any mistakes. All they have to show for hours of punching keys is a roll of white paper, speckled with small rectangular holes. The guidance for this task is provided by this slowly rotating drum: 



…as well as arcane information such as this:





The roll of paper looks like this. In no way does this resemble a book, or text, or a typeface, or, in fact, anything much at all. But it’s where the book begins, as it contains all the information that will be needed to cast the type, which is done on an adjacent machine which uses brass dies to impress the typeforms on the molten lead.
And that is something I will leave until the next time I can get round to adding to this dubious and ignorant account of our slow and laborious progress towards the publication of Holloway.

Stanley
Typeset and letterpress printed in Oxford by Richard Lawrence. 
48pp in Royal Octavo format (234 x 156mm).                     
Five full-page line illustrations by Stanley Donwood.          
Typeset in 12pt Monotype Plantin Light.                        
Printed on 115gsm Somerset Book Wove paper.                    
277 copies sewn and limp bound; £27.70.                        
27 specially bound copies in a slipcase; price on application.
Expressions of interest to:
Richard Lawrence
50 Hurst Street
Oxford OX4 1 HD
holaweg@gmail.com

Holloway

Holloway.
Hollowy.
Holewaye.
Holeway.
Holway.
Holwy.
Hol weg.

I first met with Robert Macfarlane several years ago at Emmanuel College, Cambridge. Snow crunched underfoot and flecked us as we crossed the quad. A sparrowhawk flew over with its dark dove silhouette. The lido was frozen over - thick enough to support a duck - and the oriental plane tree stood out bronze in the stalling light. It was December, I remember, and the notes I have record that, amongst other things, we looked at a book of fires, pyres and stoves made by sculptor David Nash - a gift from Roger Deakin.

As I was leaving, having agreed to meet again, I paused and said, “You know the sunken road in Dorset which you explored with Roger? I spoke to Stanley Donwood about it a while back and it haunts him. I think he’d like to seek it out. I think he might like to make a book.”
And then I left in the snow for my inevitably cancelled train.

I first spoke to Stanley about the holloway in …. in March 2009. I first met with Robert and mooted something or other about a collaboration in Cambridge (in the snow) in December 2009. We (eventually) got to the holloway in September 2011.

The book Holloway was drawn and written between September 2011 and March 2012.
Richard Lawrence printed it in his Oxford workshop between April and May, 2012
Dan

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