Gary Breeze

Lettering, like most crafts, can only be learnt through practical experience. I begin by demonstrating the processes involved so that the student can see and hear the speed and movement of a confident maker. After that I look for the strengths each student can bring to the course and try to guide and nurture their individual approach according to their experience and ability.

Students will become more acquainted with what makes a successful letterform, providing a goal for future work. Whatever level of ability students will take away a better practical understanding of what constitutes a good letterform carved into wood. By being helped to create a finished piece students will have a basis from which to improve.

The Roman capital letter is the foundation form for our alphabet. I use a variety of principles to explain proportion underlying their design, and I demonstrate with the broad edged brush to explain the complex shapes inherent in Roman letters.

I’m mostly interested in language and how the medium changes the way we read words. I look at ancient and vernacular lettering more than contemporary things. A beautiful inscription in wood or stone evokes a powerful voice, and one that can be used for both practical and artistic applications.

My work can be seen on various publicly commissioned sculptures and monuments. A short list of places would include work at Eton College Rowing Lake, within the main entrance to the V&A, at Christ Church cloister in Oxford, on the Bali bomb memorial in Horseguards Road, at the Members entrance to the new Scottish Parliament, at Southampton University and in Southampton town centre, In Romsey town centre and in Glasgow, at both the Caledonian University and the High Court of Justiciary.

I received a BA from Norwich School of Art followed by an apprenticeship with the letter-carver and sculptor David Holgate. I also worked as assistant to Richard Kindersley in London.

I have only taught a few short courses before, privately and at the Colchester Institute. Many people have visited my workshop for hands-on experience and I trained my assistant Stuart Buckle who is now becoming a highly respected letter-carver.

My work is in collections at the Crafts Council and the V & A. I have work in numerous private collections, but most visibly at the New Art Centre, Roche Court near Salisbury.

A number of articles have been written about my work but I have contributed to Letter Exchange’s Forum magazine, Ad Familiares the journal of the Friends of Classics, and the Sculpture Journal.

I am a member of Letter Exchange.