Metal 3D printer manufacturer Nikon SLM Solutions has unveiled its redesigned SLM 280, SLM 280 Production Series (PS), and SLM 500 machines, offering advanced features aimed at increasing productivity and reliability.With a guaranteed minimum uptime of 85% and a track record of exceeding 90% uptime in existing installations, these systems reflect ongoing progress in metal additive manufacturing. Alongside these updates, the new Picture Perfect Pro Plan service package has been introduced, complementing the machines with extended support. Both offerings are being showcased atFormnext trade show this week in Hall 12.0, Booth D119.The SLM 280 Production Series system. Image via Nikon SLM Solutions.Streamlined design meets elevated productivityFeaturing a sleek exterior redesign and technological upgrades, the SLM 280, SLM 280 PS, and SLM 500 models incorporate advanced recoater brushes, Permanent Filter Modules (PFM), and powerful 700W lasers. These enhancements are crafted to simplify workflows while raising performance benchmarks in metal AM. Each feature is part of a broader strategy to streamline operations and ensure a seamless experience for users.Supporting these developments, the Picture Perfect Pro Plan offers a robust package of benefits for customers in North America and Europe.Existing clients upgrading their machines or renewing their service contracts for five years can also take advantage of this plan. Notably, this initiative introduces an industry-first uptime commitment for mid-size and larger systems, reinforcing Nikon SLM Solutions dedication to reliability and precision.According to the company, this plan includes several key benefits, beginning with a guaranteed minimum of 85% uptime for models such as the SLM 280, SLM 280 PS, SLM 500, and NXG series.Customers currently using these systems report uptime rates exceeding 90%, which highlight the machines dependable performance across multiple sectors. Operational efficiency is further supported by essential production items, including intuitive handling devices for safe and efficient part management. In addition, buyers of the SLM 500 will receive additional build cylinders to prevent interruptions in production cycles.To enhance digital optimization, customers will also gain access to five years of software solutions, including SLM.Link, SLM.Quality, and Free Float. Tailored powder supply contracts ensure uninterrupted workflows, while Nikons Total Care program offers comprehensive service and support over the same five-year period. These measures collectively ensure operational reliability and consistency for users.The SLM 500 3D printing system. Image via Nikon SLM Solutions.Shaping metal AM with robust systemsNikon SLM Solutions latest developments reflect ongoing progress in metal AM, with other industry players introducing systems tailored for advanced applications and high-performance production. Recently, metal 3D printer manufacturer Eplus3D introduced the EP-M4750, a metal 3D printer designed for large-scale batch production in industries like aerospace, automotive, and tooling.Utilizing Metal Powder Bed Fusion (MPBF) technology, it supports a variety of metals, including titanium and aluminum, and offers a build volume of 450 x 750 x 530 mm. Equipped with dual or quad 500 W fiber lasers (optional 700 W), it achieves print speeds up to 70 cm/h. Features like adjustable layer thickness, advanced gas flow, and proprietary software streamline production, making the EP-M4750 ideal for high-output industrial applications.Additionally, large-format robotic 3D printer manufacturer Caracol has introduced Vipra AM, its latest large-format additive manufacturing (LFAM) 3D printing system, at Formnext 2024. Designed for large-scale metal 3D printing, Vipra AM combines robotic deposition and automation to produce complex industrial components with precision and efficiency.Offering two configurations, Vipra XQ (Extreme Quality) focuses on high precision for aerospace and energy sectors, while Vipra XP (Extreme Productivity) enhances throughput for automotive and marine industries. Supporting hybrid workflows, the system reduces waste and lead times.Catch up on all the news fromFormnext 2024.Voting is now open for the2024 3D Printing Industry Awards.Want to share insights on key industry trends and the future of 3D printing? Register now to be included in the2025 3D Printing Industry Executive Survey.What 3D printing trends do the industry leaders anticipate this year?What does the Future of 3D printing hold for the next 10 years?To stay up to date with the latest 3D printing news, dont forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook.While youre here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays.Featured image shows the SLM 280 Production Series system. Image via Nikon SLM Solutions.

Hey yall! I have a couple of general questions for you. I would be interested in your point of view on these processes.How do you go through the process of creating a VFX?What questions do you ask yourself?How do you develop your creativity?How do you decide which technical method to use (for shapes, textures, emitters)?Have you ever felt that you are not good enough? burnout? What do you do when you feel like that?Wanted this topic to be informative and something you can open up about. Thank you in advance. 1 post - 1 participant Read full topic

So yesterday I wanted to do healing effect, I searched in pinterest for ideas and watched some videos about it.This is the result of that brief moment of inspirationI am so happy that I am getting faster and better each day!I also borrowed some textures from @Niels.Sorry, about the emitters names 3 posts - 2 participants Read full topic

Linked Hybrid | Iwan BaanIn the heart of Beijing, the Linked Hybrid project redefines the boundaries of urban architecture, offering a paradigm shift from the privatized developments dominating contemporary China. Designed to counteract the isolation of modern towers, Linked Hybrid creates a porous, interactive, and sustainable urban ecosystem. This city within a city not only integrates residential, commercial, educational, and recreational spaces but also emphasizes connectivity and ecological responsibility, marking it as a landmark of twenty-first-century urban design.Linked Hybrid Technical InformationArchitects1-14: Steven Holl ArchitectsLocation: Beijing, ChinaTopics:Urban PorosityArea: 220,000m2 | 2,368,000Sq. Ft.Project Year: 2003 2009Photographs: Iwan Baan, Shu HeThe 220,000 square-meter Linked Hybrid complex in Beijing aims to counter the current privatized urban developments in China by creating a twenty-first-century porous urban space, inviting and open to the public from every side. Steven Holl ArchitectsLinked Hybrid PhotographsAerial View | Shu HeBridge View | Shu HeCourtyard | Shu HeCourtyard | Shu HeCourtyard | Iwan BaanBridges | Iwan BaanEntance Detail | Iwan BaanBridge Interior | Iwan BaanCommunal Spaces | Iwan BaanAuditorium | Iwan BaanLinked Hybrid: Architecture as Urban ExperienceThe Linked Hybrid complex revolves around a groundbreaking concept: an interconnected open city that transcends physical barriers. At ground level, the design fosters accessibility through open passages flanked by micro-urbanisms small-scale shops and pedestrian pathways that encourage community interactions. A large central reflecting pond anchors this space, adding a serene dimension to the urban hustle.Spatial transitions in Linked Hybrid are anything but linear. Movement through the site resembles a cinematic experience, with ramps, turns, and elevators orchestrating a sequence of dynamic perspectives. The design transforms everyday journeys into immersive spatial narratives, challenging the static nature of conventional high-rise developments.This approach extends vertically through multi-functional skybridges that span the 12th to 18th floors. These elevated corridors interconnect eight residential towers and a hotel, housing shared amenities such as a swimming pool, fitness room, caf, and gallery. The skybridges offer sweeping views of Beijing and serve as a microcosm of urban life in the sky, blending private and communal realms.Programmatic and Social ConnectivityAt its core, Linked Hybrid aspires to be more than a residential complex; it aims to function as a vibrant urban hub. The ground level brims with public amenities, including a restaurant, hotel, Montessori school, kindergarten, and cinema, each seamlessly integrated with green spaces. These elements collectively create a base loop, inviting visitors and residents alike to experience a shared sense of place.The skybridges introduce a second loop, establishing a semi-public realm high above the city. These elevated pathways transform the residential towers into interlinked social hubs, fostering encounters and interactions. Together, the base and sky-loops function as social condensers, generating spontaneous relationships and infusing the architecture with an organic, lived-in quality.Sustainable Innovation and Environmental DesignLinked Hybrids sustainability credentials stand out as a model for future urban developments. The project employs a pioneering geothermal well system, with 655 wells drilled to a depth of 100 meters. This system provides efficient heating in winter and cooling in summer, significantly reducing the projects environmental footprint.A central reflecting pond enhances both aesthetics and functionality. It incorporates a greywater recycling system and serves as a focal point for the development. During the winter months, the pond freezes, transforming into an ice-skating rink that adds seasonal charm to the complex. These innovative design strategies highlight the integration of ecology and urban living.Aesthetic and Cultural ResonanceThe architectural language of Linked Hybrid draws inspiration from Chinese Buddhist temples, evident in its vibrant color palette and layered design. The underside of the skybridges and cantilevered portions glow with hues inspired by ancient temples, creating a striking visual identity, particularly at night. The window jambs are uniquely colored based on chance operations derived from the The cinematheque, a key feature of the complex, encapsulates the fusion of function and form. Floating above the reflecting pond, its reflective faades double as projection screens, turning the building into a dynamic visual centerpiece. Inside, the cinematheque offers community-focused programming and spectacular views, reinforcing its role as a cultural and social hub.Linked Hybrid in Beijing exemplifies how architecture can transcend traditional boundaries to foster a more inclusive, interactive, and sustainable urban experience. Through its innovative spatial design, social connectivity, and environmental strategies, the project addresses the challenges of urban living in the twenty-first century. More than a collection of towers, Linked Hybrid serves as a vision for interconnected living, offering lessons in how architecture can enrich both individual and communal lives.Linked Hybrid PlansSite Plan | Steven Holl ArchitectsGround level | Steven Holl ArchitectsElevation | Steven Holl ArchitectsElevation | Steven Holl ArchitectsSection | Steven Holl ArchitectsSection | Steven Holl ArchitectsFacade Detail | Steven Holl ArchitectsBridfe Section Detail | Steven Holl ArchitectsLinked Hybrid Image GalleryAbout Steven Holl Steven Holl isa renowned American architect celebrated for his innovative and human-centered approach to architecture. Born in 1947 in Bremerton, Washington, Holl is the founder of Steven Holl Architects, an internationally acclaimed firm recognized for blending spatial experimentation with sustainable and poetic design. His work often explores the intersection of light, materiality, and phenomenology, creating buildings that respond thoughtfully to their cultural and environmental contexts. Holls portfolio includes iconic projects like the Nelson-Atkins Museum of Art Addition, the Simmons Hall at MIT, and the Chapel of St. Ignatius. A recipient of numerous prestigious awards, including the AIA Gold Medal and the RIBA International Prize, Holl is a leading figure in contemporary architecture.Notes & Additional CreditsClient: Modern Green Development Co., Ltd. BeijingDesign Architect: Steven Holl, Li HuPartner in Charge: Li HuSenior Associate in Charge: Hideki HiraharaAssistant Project Architect: Yenling ChenTechnical Advisors: Chris McVoy, Tim BadeProject Designers: Garrick Ambrose, Yimei Chan, Rodolfo Dias, Gong Dong, Peter Englaender, Guido Guscianna, Young Jang, Edward Lalonde, JongSeo Lee, Richard Liu, James MacGillivray, Matthew UselmanProject Team Members: Jason Anderson, Lei Bao, Christian Beerli, Johnna Brazier, Cosimo Caggiula, Kefei Cai, Guanlan Cao, Shih-I Chow, Sofie Holm Christensen, Frank-Olivier Cottier, Christiane Deptolla, Mike Fung, M. Emran Hossain, Gyoung-Nam Kwon, Eric Li, Tz-Li Lin, Clark Manning, Maki Matsubayashi, Giorgos Mitroulias, Daijiro Nakayama, Olaf Schmidt, Judith Tse, Li Wang, Ariane Wiegner, Lan Wu, Noah Yaffe, Liang ZhaoAssociate Architects: Beijing Capital Engineering Architecture Design Co. LTDStructural Engineer: Guy Nordenson and AssociatesMechanical Engineer: China Academy of Building ResearchSustainability Consultant: TranssolarElectrical and HVAC Consultant: Cosentini AssociatesGeneral Contractor: Beijing Construction Engineering Group

The simple truths of the color wheel are dramatically upscaled in a new installation within the Bernheim Arboretum and Research Forest in Clermont, Kentucky. Realized by Los Angelesbased office DOMM, it is part of L+A+N+D, a new dedicated area of the Bernheim site that supports large-scale, immersive land art. Bernheim was founded in 1929 and is fast approaching 100 years of active programming in alignment with a mission to connecting people with nature. The arboretum is unique in its robust focus on art: Each year, artists-in-residence are welcomed to create site-specific work inspired by the forest, and an open call for 2025 residents is now active. But there are also long-term installations throughout the park area, including Forest Giants, Acre, and L+A+N+D (Landscape + Art + Nature + Design). The latter is the newest initiative at Bernheim: Its a new area of the forest dedicated to immersive installations that visitors can discover.The electric-orange artwork wraps a trio of trees in stacked bands of netting. (Tag Christof)Currently on view in the L+A+N+D section is Within the Forest: Without the Forest, crafted by DOMM cofounders Raffy Mardirossian and Paul Matevosyan, is an electric-orange artwork that wraps a trio of trees in stacked bands of netting. When developing this project, we realized that theres a moment here where youre leaving the nature youre innot physically, but because youre seeing it through a different lens, Mardirossian said in a video about the installation. The orange layers act as a monumental filter, or photographers gel, that transforms the forest into a room. The scrim is PVC-coated debris netting. (Tag Christof)The scrim is PVC-coated debris netting, a familiar material for architects. This textile is commonly found in urban construction sites, but its hung so intentionally from the studios imaginatively assembled rigging equipment that it takes on a partition-like quality. Suspended on aircraft cable and accessible by ducking under the fabric, the forest room borrows influence from artists like Christo and Jeanne-Claude and Robert Irwin. Its an architectural tool that allows an enhanced and saturated experience to occur, Matevosyan explained.The fabric transforms the forest into a room. (Tag Christof)DOMM has envisioned how the room will change with the seasons. (Tag Christof)Of course, orange is also the opposite of green on the color wheel, ensuring that this wrapping is visible to Bernheim visitors from a distance, which no doubt draws them closer to appreciate its peaceful courtyard. Its easy to imagine how DOMMs room will change with the seasons, and even throughout the course of a day: The installation was photographed in a dusky light, showcasing how the neon orange cuts through the gloom of a quiet afternoon. But I also imagine how striking the piece will feel in the winter, surrounded either by snow or by a wholly different color palette off which to play.

When Cummins Technical Center opened in 1968, it elicited comparisons to Eero Saarinens General Motors Technical Center, and other midcentury corporate campuses overlooking serene artificial lakes and manicured grass lawns. This particular campus in Columbus, Indiana, hosts 1,200 Cummins employees. It was designed by Harry Weese and Associates and consists of two Brutalist buildings made of steel, glass, and pre-cast, modular concrete. Dan Kiley was the landscape architect. HOK recently renovated the 6-story tower at Cummins Engine Technical Center, adding significant upgrades to the interior while maintaining the fortresss Brutalist integrity.Cummins Engine Technical Center designed by Harry Weese Associates in 1968. (Library of Congress)The rehabilitation touched all 72,000 square feet of the midcentury modernist ensemble. Jennifer Rumsey, Cummins chair and CEO, said the renovation will help the lauded corporation research and develop our next-generation power solutions [that will] start right here in this very hub.Tim Frazier, Cummins vice president of research and technology, said the renovation helps bring the companys engineers, technical specialists, and innovations together again under the same roof working as a coordinated team, close to the technology and testing being executed here.There are new conference rooms and breakout spaces. (Courtesy HOK)The renovation modernized the tower while paying tribute to its important place in modern architectural history, designers from HOK noted. New features like a new staircase, two social hubs, and over 90 differently-sized conference rooms were interspersed throughout. The building also now has gender-neutral restrooms, nursing rooms, quiet spaces, and even treadmill desks. There are also integrated soft lab zones and more collaboration areas. Plus symbols on the walls ideated by HOK pay tribute to graphic designer Paul Rand. (Courtesy HOK)Our design respects Weeses modernist legacy while creating the dynamic, flexible workspace Cummins needs for innovation, Kelly Lott, practice leader for HOKs interiors group in St. Louis, said in a statement. The result maintains the buildings architectural integrity while supporting the collaborative culture essential to Cummins engineering teams.HOK further elaborated that branding elements within the rehab also acknowledge renowned graphic designer Paul Rand, who designed logos for Cummins. The upgraded spaces feature Rands memorable plus symbols he liked to use, embossing them on glazed partitions and as textured, decorative elements on a statement wall.The renovation added new stairs between floors, among other upgrades. (Courtesy HOK)Circular light fixtures nod to the Weese buildings midcentury past, albeit with a contemporary take. Light-colored materials were used throughout: Pale woods can be found on the railings and dividers, and glass panels form the staircase located in the center of the office. On each floor, oversized numbers indicate the level, making wayfinding very clear.The renovation started in 2021 and took three years to complete.

The Barcelona-based studios handling of topography and material detailing defines the architectural landscape ofthe Alfacs campsiteBajet Giram was shortlisted in the AR Emerging awards 2024. Read about the full shortlist herePau Bajet and Maria Giram believe architecture should perform as a catalyst for joyful and unexpected possibilities. Their work at Alfacs exemplifies this approach and their centring of wellbeing in methods and projects. Situated near the Spanish city of Alcanar, Tarragona, theholiday destination seeks tocharm visitors; communal facilities spill outdoors and overlook the sea, while a staggered plan allows views to the shores from throughout the site. First opened in the 1950s, the campsite grounds were gradually transformed to include 24 timber cabins, each with their own porch; shared showers and toilets; a building used as both reception and grocery shop; a restaurant; communal gardens; and a pool. Bajet Giram has collaborated with Manuel Juli of JAAS since 2016 on the sites openended process of renovation, working within tight spans of six months to allow the business to remain operational between construction phases.On their first visit, the team was struck by the cluttering of caravans along the shore; those not directly on the waterside had limited access to the beachfront. The design strategy was to push all bungalows towards the back and free up the seafront. Thinking about the layout and pacing across the site, the architects devised sinuous routes, incorporating stepped terraces that run parallel to the beach and creating pockets ofspace interspersed with planted areas.This artificial topography embraces the Mediterranean environment, and existing pine trees are preserved. Their shadows temper the hot air, while additional shade is provided by lighter architectural elements: steel rods form pergolas over which wicker mats can be unrolled, for example, creating acovered terrace for the restaurant. While Bajet and Giram understand joy as being beyond functionality, their work also finds joy in meeting the needs of a client.The architects use a lot of timber and earth at Alfacs, but revert to a more mineral palette when necessary. Concrete is used for elements in touch with the ground, such as the steps, square columns and cylindrical bases for porches. Compressed earth blocks are combined with structural concrete elements for the larger buildings; their more imposing presence, with tiled pitched roofs andsprouting towers, offers a permanence that contrasts with the temporality of the camping experience. The earth blocks high thermal mass also helps keep interiors cool.The architects describe the gradual process ofgrowing the Alfacs campsite as a stratification of components; the goal is to make it feel as rich as a city. In their opting for gradual ecologies of spaces rather than blanket design strategies, they have done just that, reintroducing vibrancy and warmth to the quotidian junctures of camping life.

This charming Shingle/Queen Anne style house is located on Sumner Street in Newton Centre, a street of fine suburban houses built for businessmen who commuted into Boston. This house was built in 1884 for Daniel Tufts Kidder (1852-1941), a glass dealer. Daniel got his start under the employ of Hills, Turner & Harmon, jobbers of plate, window and mirror glass, and manufacturers of mirrors, eventually working his way up to salesman and later as president of the consolidated company, Boston Plate and Window Glass Co. It is believed that Mr. Kidder used antique and imported glass in his home when it was built. The house remains well-preserved and characteristic example of the fanciful Victorian styles.

Formerly the Newton Centre Branch Library, this building was one of five branch libraries funded in Newton, Massachusetts by citizen subscription between 1926 and 1939 and turned over to the city. Like most of the others, the building is a small-scale, one story brick library of a Tudor Revival style. The building was designed by the firm of Ritchie, Parsons & Taylor and constructed in 1927. Architect James H. Ritchie was born and educated in Scotland, relocating to Boston and lived in Newton Centre, in two houses he built for his family. The Newton Centre Branch Library was one of the six branch libraries to close in 1991 when the main library opened, consolidating the neighborhood libraries under one roof; the remaining four closed in 2008 due to a budget cut. Today the Newton Centre branch library building serves as the Newton Health Department offices. Thanks to the Community Preservation Act, funds have been allocated to preserve and restore the building for another 100 years.

PlacesSignwriting-on-Sea: The Rich Craft Heritage of Hastings, East SussexCharlie Nelson on Hasting's signwriting history, and how the town continues to embrace the craft.Better LettersNov 14, 2024 6 min readThe Jolly Fisherman, lettered by Rob Finn, one of Hastings' active signwriters.In some parts of the world, painted signs have persisted as go-to for high street businesses. When it's widely employed in this way, sign painting lends a particular character to a location, and in the case of Hastings, East Sussex, this comes laced with history. Charlie Nelson has been peeling away the layers to learn more about the town's sign painters, past and present.Signwriting-on-Sea: The Rich Craft Heritage of HastingsBy Charlie NelsonRobert Tressell, as author of The Ragged Trousered Philanthropists, is arguably the UKs most famous sign painter. At the beginning of the twentieth century, he lived and worked in Hastings, East Sussex, where, 120 years later, the seaside towns embrace of all things hand-painted persists. This rich heritage is due to local sign painters that refused to put down their brushes in the face of technological change, and who continue to produce quality work for a tight-knit community that values it.Robert Tressell and his 1905 mural for St. Andrew's Church, restored in 1982.Hastings Sign Painting PastIn addition to his own work, Tressell was also employed for a time by the Adams & Jarrett firm. Like many companies from that era, they were a one-stop-shop for much more than just sign painting, as their one-time premises and a large gable-end mural sign testify.This gable end mural sign was painted by Robert Tressell for Adams & Jarrett.Adams & Jarrett's capabilities extended well beyond sign painting.While those Adams & Jarrett pieces can no longer be seen, there is plenty of vintage work to feast your eyes on in Hastings. The majority of this survives as ghost signs in the Old Town, and many are noteworthy for their quality of execution and relatively good condition.Ghost signs in Hastings Old Town at the site of the old Swan Hotel, and for the A.W. Foster piano and organ merchants.The Curious Case of T. NoakesOne of the towns better-known ghost signs is for T. Noakes. Just like Adams & Jarrett, Noakes offered plumbing and glazing services in addition to his sign painting and gilding work.The ghost of T. Noakes on Croft Road, Hastings. Photo: Mark Novotny / History of Advertising Trust Ghostsigns Archive.The sign likely dates from the late nineteenth or early twentieth century, so I was surprised to spot a T. Noakes signature on a sign painted in 2009. I began to wonder if there was perhaps a Noakes dynasty of Hastings sign painters...This sign on George Street, Hastings, was painted in 2009, and is a replica of a c.1830s trade card for the S. Roberts boot and shoe makers that once traded from the address.Enter Rob FinnMaking enquiries around town, one name kept cropping up with people I spoke to: Rob Finn. While his work is ever-present in Hastings these days, you wont find Finn anywhere online. Where you will find him is up a ladder in the Old Town, which is easily done in a small place like Hastings. It didnt take me long to track him down, and eventually we met so that he could share his knowledge of all things Noakes.It turns out that T. Noakes on the Croft Road ghost sign and T. Noakes that painted the S. Roberts sign are different people, and unrelated. Noakes is a fairly common name in East Sussex, and it's just a coincidence that these two share an initial and a trade. While Rob doesnt know a lot about the older Noakes, he was very close to his more contemporary namesake.Passing It OnTerry Noakes (19452014) was a sign painter from the old school, with painting and decorating also among his skillsets. He got started in the trade with the firm A.H. Dearing, specialists in lettering commercial vehicles, and worked in and around Hastings for his entire career.Terry Noakes painting a lorry in Clarendon-style letters with a layout that just consists of two horizontal lines and a few white chinagraph marks. The brush, selected to match the weight of the thin strokes, is doing all the work as it coats in one hit with some lead-heavy white.For many years, Terry shared a workspace with the graphic designer and sign painter Peter Thompsett. While they were technically competitors, Peter was more into graphic and pictorial work, while Terry was very much an old school letterman. Terry regularly worked late, churning through a hectic workload, and it was these evening shifts that provided Rob with the opportunity to learn the craft of sign painting.Fresh out of school in the 1980s, Rob had a day job at Wadley Keith Signs in nearby Eastbournecutting vinyl, silkscreening, and producing all types of fabricated signsbut he spent as much time as he could at Terrys shop, observing and helping out where he could. He watched and learned how to paint letter shapes, eventually reaching a point where he could go it alone and carry on the lineage of accomplished Hastings sign painters.These business cards from Rob Finns collection convey the character of those that he worked with and, in turn, those that they worked with. The Signwriters card with the cartoon character advertised the shared studio of Terry Noakes and Peter Thompsett.On the Shoulders of GiantsRob is aware of the legacy that he continues, and is utterly fascinated by it. He has spent many hours in Hastings Library looking through old trade directories and learning as much as he can about those that came before him. He has also compiled photo albums of work by many different local sign painters, which inform his own output through the study of letters, layouts and colours. This, and his years of dedication to the craft, have given him a confidence and a tightness of line achieved with just a yardstick, stabilo, and fine sable brush.In spite of all this, Rob remains humble, and somewhat baffled that there would be a contemporary audience for this kind of story. For him, its just his work, and tough work at that, with all the stresses and strains of being up and down a ladder, and dodging the rain and cold. His modesty masks Rob's own lasting entry into the sign painting history of this seaside town, which is now inspiring the next generation of local painters, myself and Jay Holland (@greateropacity) included.Written by Charlie Nelson / @fundi_signsSigns by Rob FinnMore HistoryMore Places