Heavenly Bodies for sale . . .

From today Sandy Nightingale's first four cards under the banner of Heavenly Bodies are available for sale online. The cards are blank inside and cover a range of scenes: Marie Antoinette, Egyptian Temple Dancers, Eve and a group of jolly ladies collapsing with the giggles.

There will be more cards to follow. All your comments and suggestions are welcome. In the mean time please visit the shop and share with your friends . . .

Every Little Helps . . .

We have joined the 10:10 Climate Change Campaign. The aim is to reduce our carbon emission by 10% in 2010.

When we were Art Students this was known to be a vital issue, especially to post-hippies. But whereas back then it exposed us to ridicule (weave your own flip-flops out of tofu do you?) - today it is seen as not only sensible and desirable, but essential for our survival. We already urge our clients to use low-carbon alternatives and recycled materials wherever possible and hope for positive responses in future. No lecturing or hectoring, just pointing out the alternatives for clients to decide.

We want to do our bit.

Heavenly Bodies Take Off

Heavenly Bodies is the series name for Sandy Nightingale's new line in greetings cards. We chose  Abacus, in The Lake District for the repro and print. The proofs have been given the OK by the artist (our thanks to Danny at Abacus). And the first print run is happening this week.

They will be on sale online and at discerning West Country retail outlets soon. Watch this space  as we will be revealing the details soon.

Peter Williams - the man who captured calm

In the Abbey Road post we acknowledged the contribution of photographer, Peter Williams. An uncharacteristic shot for Peter who was, as ever, being helpful and responsive to the brief.

It was with great sadness that we learned of the passing of this talented, beautiful and kind man. A fine craftsman with a faultless eye and rock-steady hand, he created some of the most beautiful still life compositions and natural history images to be found anywhere. In his obituary in the Guardian the authors note, "Many fledgling art directors learned from him never to accept second best." I know this to be true as I was one of those learning early lessons with a true master. Many very happy, hard-working hours were spent in Rossetti Studios, Chelsea with Peter. We worked with celebrities such as Clive James and Ester Rantzen, classy models, food and even a couple of parrots. One stuffed for Julian Barnes' novel Flaubert's Parrot and the other, very much alive, for Raymond Chandler's Playback. So alive in fact that we grew to believe it was not only overhearing but anticipating our requirements of it's pose. We ended up discussing it in the privacy of the studio kitchen and collapsing in giggles.

But it was his still life work that stunned us every time. He worked in advertising, for the Observer, the Guardian and Sunday Telegraph. In 2000 he won the Glenfiddich Food & Drink Award and began his work for Kew magazine which he took enormous pleasure in. I think of him as 'The man who photographed calm'. In this noisy, boisterous world his images are a refuge of tranquility that, by their very silence and stillness, speak volumes above the cacophony outside their exquisitely constructed frames. As architects depend upon craftsmen, art directors rely on relationships with the best photographers and illustrators. Peter Williams was one of the finest.

He was a very special man and will be deeply missed. Thank you, Peter, for your art, your skills, your patience and fine company.