It seems Dalton Ghetti’s carved pencils have been the subject of lots of newspaper articles and blog posts over the past few years.
Living near the arctic circle, I first saw them this morning when my mother forwarded some pictures to me.
It’s lucky for him he doesn’t have to carve any Ös, Ñs, Øs or Ås, but I’d like to see him try a typeface with serifs.
My favourites are the saw and the hammer.
He seems to have a lot of very old pencils. Maybe they just look old by the time he’s finished with them.
A Bad Guide 
Yes, my first idea at the sight of his works was also how lucky he is that he does not have to carve all those accented Central European letters.
Are they considered part of the alphabet? Ø, Æ and Å are the last three letters of the Norwegian alphabet; but I don’t think, for instance, É is part of the French one , is it?
As to French É, I’m not sure. But Á, Č, Ď, Ě, É, Í, Ľ, Ň, Ó, Ô, Ř, Š, Ť, Ů, Ú, Ž are surely parts of the Czech and Slovakian alphabet, just like Ă, Â, Î, Ş, Ţ of the Romanian alphabet and so on, and in all these letters the accents must not be in contact with the body of the letter.
accents must not be in contact with the body of the letter
So you take a carefully carved letter and a random bit of graphite from the cutoffs pile and now it’s the framer’s problem.
That’s a tip from Marcel Duchamp, “Learn to delegate”.
I delegate all my delegating these days.
The accented letters in French (eg é or â) do not have a separate place in the alphabet, and neither do the digraphs (eg ch, ph). Theoretically, the accent signs are not placed on capital letters, but may people do use the accent on the capital é since leaving it out (esp. at the end of a word) is too ambiguous.
Thanks. I knew you would set us straight on that, m-l.
I showed it to my wife the miniaturist. She showed me the work of Willard Wigan. There’s no way to impress some people.
Well, anyone can do that kind of work if they’re only two inches high.