LETTERCARVER and artist Martin Cook recently completed his latest commission, the largest and most prestigious he has ever undertaken to design and carve all the names of the benefactors at the Great Court extension to the British Museum.

The commission for the courtyard project, from architects Norman Foster and Partners, also included carving the names of all the galleries and an inlaid floor inscription with quotes from a Tennyson poem.

The courtyard was officially opened by The Queen last December.

Martin is now working on his next project, a 10 ft carving for Billy Connolly's garden in Scotland, as well as continuing with his busy schedule of other private commissions for monuments and memorials. He is also working on individual pieces for his home, including a garden table and holders, similar to book ends, but to take records for his own use.

Martin, who opened his Loudwater studio six years ago, was approached by Lord Norman Foster to tender for the British Museum project. He was chosen from a shortlist of four.

He worked on the six-month project with his partner Debbie Harris and took on five other carvers to help.

"We started work in July 2000 and finished the main bulk of the project in December. It was hard work. It was a village of scaffolding, very noisy and very hot under the glass roof.

"The end result is breathtaking and it was an honour to be part of what will be a really historic building."

Martin spent much of his time on his back on the scaffolding to draw in more than 2,000 letters measuring from 5in to 16in in height, before carving them with a hammer and chisel.

But the most difficult job of all, he said, was the inlaid floor inscription. The Portland stone floor of the Great Court had to be cut away to take the slate letters.

The project was carried out to a very strict timetable.

"It was a very business-like contract with agreed deadlines to meet and monthly visits to check on our progress. We were given a finishing date of December 5 and we finished on the fourth of December at 9pm," said Martin, who added that Sir Norman Foster was very happy with his work.

Martin is also pleased to see a resurgence taking place in British architecture to move away from mass-produced signage.

"The Great Court was an example of the resurgence of individually and carefully planned signage," he said.

"Business people spend millions of pounds on buildings then put up mass produced signs which detract from rather than enhance a building. After all, a company's sign is the first thing most people see."