the warren.
one fascia, six layers deep. an aperture-cut aluminium tray with push-through opal lettering, brass faces and a 3 mm keyline of light.
six parts, one panel.
every detail is cut into the fascia, not stuck onto it. the letters press in from behind, through apertures cut 3 mm oversize, so each character wears a thin ring of light after dark.
the drawing is the product.
scroll far enough and the finish falls away. this is the cut file the workshop builds from: apertures, keylines, panel joins and returns, dimensioned once, cut once.
a 3 mm line of light.
the letters read at a glance; the keyline does the atmosphere. light from the opal backing escapes through the 3 mm shoulder around every character.
layered by hand.
gold vinyl over through-cut ornament at each end of the fascia. two families of the same drawing, one applied, one removed.
every layer home.
the sign reads as one piece, because it was designed as one piece.
the assembly, front to back
drawn so the making was already decided.
the brief
The Warren needed a fascia that felt engraved into the building, not applied to it. [the Black Rabbit story, venue and location to follow.]
the lettering
deco capitals drawn for push-through: opal blanks press in from behind the face and carry a 3 mm brass front, every counter and apex checked against the aperture cut before a single sheet was folded.
the light
a 3 mm keyline of illumination around each letter, thrown from the opal backing behind the face. quiet by day, a precise line of light by night.
the making
one drawing drove the machine. the tray, the apertures, the acrylic and the brass faces were cut from the same geometry, then finished in gold vinyl ornament by hand.