I have been shortlisted for the Archiboo 2022 Architecture awards for website design

I have been shortlisted for the Archiboo 2022 Architecture awards for website design 800 800 martin

Very honoured and excited to have the website I designed and built for Juliette Mitchell shortlisted for the Archiboo Awards 2022!

Our site has been shortlisted for best consultant … never been up for an award before, though it would help if I actually entered one. So thanks Juliette for being a great client and so easy to work with and entering our project for Archiboo 2022 … fingers crossed!

Architypal website

Print making an impact

Print making an impact 2048 2048 martin

I have been in love with print since the start of my career, now in the digital age a beautiful piece of print is priceless in terms of making an impact and holding retention with your clients – nobody will want to throw ant of these into the bin.

Here’s a gallery of all the print projects I have produced, in partnership with my trusty craftsmen, foil block printer, Ian Stopford – check his beautiful work out here:

You&Me and Me&You

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A charming documentary looks at the making of the giant You&Me and Me&You artwork, and its personal connection to the renowned designer’s creative journey.

Graphic artist Anthony Burrill recently revealed a giant typographic mural in Leeds, and now a documentary short about the artwork delves into the ideas behind the piece and its meaning to the designer. You&Me and Me&You sees Burrill’s signature letterpress typography blown up to epic proportions, covering one side of the 88-ft-high, seven-storey canal-side building, The Calls, in Leeds city centre. Impactful in white on black, the piece embodies Burrill’s mission to “say the most with the least, and connect with people through words” on a monumental scale, and speaks to the importance of human connection during the pandemic.

In the film directed by Ben G. Brown, Burrill explains how the mural signifies “a particular moment and a particular time” during the global crisis, and highlights the “value of relationships” between people, and the “simplicity of that connection… that connection is our humanity” he says. In an interview with It’s Nice That, Burrill adds that he hopes the mural remains in place for decades and marks “a time when we were collectively thinking about friends, family and wider society. The pandemic will affect us for the rest of our lives and will become part of our shared history. It’s given us time to think about the things that are truly important. Life is about those we hold dear and how they each influence us. I hope the mural will have the same connection with people in the future as it does now.”

Burrill studied at a university in Leeds in the late 80s, and hence says in the film that creating the mural felt like “some sort of homecoming” and that going back reminds him of “where I came from and the values it gave me growing up”. Shots of the mural are spliced with photographs of Burrill in his early 20s “in the full bloom of youth” he tells us, sometime between graduating Leeds Polytechnic and starting at the Royal College of Art. “It was the early 90s during the time of acid house, outdoor raving and long hair. The photos and memories they conjure give the film its emotional kick. It’s about the link between then and now, the friends I knew then that are still part of my life. It’s also about my relationship with where I grew up, my family and the personal journey I went on after moving to London from the North.”

Ultimately, though, the artwork is about connecting with people and reminding us what’s important during a challenging era. Response to the mural has been “amazing” he says – no doubt providing a welcome bolt of positivity to locals’ lockdown walks.

The film was produced by Charlotte Rosson with production company Maniac, and DoP Matt Gentleman. The mural was curated by Laura Wellington at In Good Company, supported by King & Co and installed by Bread Collective.

Full article on It’s Nice That

Film by Ben Brown at Maniac.


Photography by Chris Spencer-Payne.

Beautifully printed cards for London Concepts

Beautifully printed cards for London Concepts 2048 2048 martin

These beautiful business cards were printed with black foil onto 700 gsm weight black board (very thick!)

The front side was printed using white foil. They made for a very dramatic keepsake for their new design, build & construction business.

London Concepts business cards

Pure Graphic Design foil block mailers

Print is not dead

Print is not dead 2000 1225 martin

Beautifully printed stationery

To fully launch my full-time freelance career this month, I invested in designing some beautifully printed business cards and A6 mailers. My passionate printer lovingly printed them in white foil block onto an array of different coloured high quality board. White foil was used for the mailer details and the business cards whilst the front of the mailer, that featured the word ‘Flourish’ was printed in holographic foil, so it catches the light and gives off lovely incandescent colours. So much marketing is done purely digitally these days, I think it is lovely to receive something tactile that’s been created with love and care that you will want to keep hold of and not discard.

My goal is to use my design & website skills to help you grow your business and flourish.

Investing in business collateral that eschews quality speaks so much about you, your business and how you approach your work – it really is money well spent.

Art for Everyone

Art for Everyone 1400 607 martin

I have just helped my good friend and exceptional artist Steve Glynn launch his own business – Art for Everyone. He is running fantastic Children’s Parties and Art Workshops for both adults and children. He is a greet teacher & communicator and has already had lots of interest, I was very happy to help him out in building him a quick website to get him off the ground.

Visit his website and book a party!

Shopfronts of London: Artist Eleanor Crow’s view

Shopfronts of London: Artist Eleanor Crow’s view 976 549 martin

Artist Eleanor Crow’s watercolours celebrating the beauty of London’s classic shopfronts are going on display in the capital.


Arthur’s Cafe, Kingsland Road, Dalston

Arthur Woodham opened his own café in 1948, having previously worked in his father’s cafe of the same name just down the road.

Young Arthur ran his for 70 years until he was 90, along with his wife, Eileen, and in recent years grandson James.

Spotless and serving up home-cooked breakfasts followed by traditional lunches with hand-cut chips, this celebrated destination was frequented by loyal customers for seven decades until its closure in 2018.


Barneys Seafood, Chamber Street, Tower Bridge

Tucked under a railway arch near the Tower of London, this legendary eel, fish and shellfish shop attracts hordes of East Enders, eager for eels freshly boiled on the premises.
The founder, Barney Gritzman, was the brother of Solly Gritzman, owner of the famous Tubby Isaac’s jellied eel stall. Barney opened his business before the start of World War Two and it has been run by the Button family, trading under the name Barneys, since 1970.



C W Tyzack, Kingsland Road, Shoreditch

Cecil Tyzack founded his business in 1936 and his shop, further down the Kingsland Road than Arthur’s Café, is still open, although it is no longer owned by the Tyzacks.

The family name lives on as a hand- and power-tool manufacturer, Tyzack Machine Knives.

Cecil was born into a branch of the Tyzack family of saw makers who came to London from Sheffield in 1839. They manufactured and sold tools from a succession of shops in Old Street until the beginning of this century.

Today vintage Tyzack tools are popular with collectors.


Daniel Lewis & Son, Hackney Road, Cambridge Heath

This was London’s oldest ironmonger, originally founded by Presland & Sons in 1797, purpose-built as a shop and factory.

In the 1890s it became W H Clark Ltd.

Daniel Lewis, who joined as a junior in 1948, took on the business in 1971 and continued trading under the Clark name.

Daniel’s son, David, worked there from 1992 and renamed it after his father in 2002.

In 2012, he was forced to close when council regulations prevented customers parking and restricted deliveries.

Since I painted it, the shopfront has been replaced by a new replica, which is a close copy of this Georgian original.

Until the end, the original interior, with all its fittings and the manufacturing workshops at the rear, survived, revealing how the business evolved, supplying first the coach-building industry and then metal fabricators, architects and sculptors.


The Cookery, Stoke Newington High Street, Stoke Newington

This drawing shows an uncharacteristically short queue. Often the line of customers extends all the way down the street, which is always a good sign – revealing that the meat is worth the wait.

I cherish this frontage, with its mid-century script in red on a glazed background, red canopy and grinning butcher mannequin, welcoming customers inside.


Sewell’s, Plaistow Road, Plaistow

This florist in Plaistow has been run by the Sewell family since the 1930s and is celebrated for its ingenious window displays.

I painted it during the Tour de France when the window featured two bicycles adorned with flowers beneath strings of bunting – all in yellow and adorned with Union Jacks in support of our team.

The wide pavement allows for a cheerful array of bedding plants outside to greet customers before they enter the fragrant interior, filled with buckets of cut flowers.


Syd’s, Calvert Avenue, Shoreditch

London’s oldest coffee stall has been open for a century and is still run by Sydney Tothill’s granddaughter, Jane.

This mahogany refreshment stall is one of my favourite London landmarks. It has moved from its pitch only once, to feature in the film Ebb Tide, starring Chili Bouchier, in 1931.

The stall opened 24 hours a day during World War Two, when the War Office brought Syd’s son (also Syd) back from a secret mission to ensure the supply of hot tea to the ambulance and fire brigades during the London Blitz, after Syd senior was traumatised by a bomb that exploded nearby.

The work can be seen at the Townhouse Gallery in Spitalfields until 20 October and is published by Spitalfields Life Books in collaboration with Batsford Books.


All illustrations by Eleanor Crow.
Full article on BBC news.

Branding a movement: Extinction Rebellion

Branding a movement: Extinction Rebellion 593 596 martin

Campaigners have issued three core demands to the government: to “tell the truth about climate change”; to reduce carbon emissions to zero by 2025; and to create a citizens’ assembly to oversee progress.

With such a clear and strongly communicated set of demands it is no surprise that XR’s other communications have also been equally well thought through. People were already activated but not organised and the XR movement has acted as a powerful force for bringing people together under a shared identity – something bigger than themselves that they can be part of.



A well-developed brand proposition can also engender feelings of affinity, belonging, and trust. This is important if you aspire for an existing network to evolve into a real movement. You are inviting people to activate and demand change whilst holding a banner with your logo on it. Do not underestimate the level of trust that is required for this to happen.


The brand toolkit

A huge amount of planning has gone into the Extinction Rebellion visual execution. They have an in-house art group, made up of graphic, fashion and stage designers and artists, who have created branded protest materials. Born from a strong visual foundation, they have expertly created a wider toolkit that is both recognisable yet adaptable.

The Extinction Rebellion logo was designed by a street artist who wishes to remain anonymous. The logo features a stylised sand-timer set inside a circle, representing the planet and is a clear symbol that time is running out. This references the warning from the United Nations that we have just 12 years to limit global warming to 1.5 degrees Celsius, or risk catastrophic changes to the planet’s climate.

This sand-timer logo combined with the language used throughout the campaign clearly highlights the scale and urgency of the climate crisis.


The simplicity of the logo has meant that it has been recreated on streets all over the globe in protest art and is instantly recognisable. It has been available for people to add to their facebook profile images, spreading the message further.

By contrasting the bold black logo and typeface with colourful graphics this works to give the movement an energetic and dynamic look and feel, emphasising the organisation’s passion and anger at the government’s in-action on climate change.

One of the most important things was that this movement needed to feel really inclusive. A lot of eco movements feel a bit hippy and exclusive, and not particularly urban. It was important to have a consistent look, so we could be an umbrella movement that everyone could come underneath.
Clive Russell, Graphic Designer at Extinction Rebellion

Pushing boundaries of design

Another great way of making the organisation inclusive and accessible has been the free availability of their protest graphics to download from their website, provided they are used strictly for non-corporate purposes. This open-sourcing of their graphics has allowed people to take a sense of ownership over the rebellion by making their own protest materials.

Maintaining a co-ordinated graphic identity in the corporate world is tricky, but this more spontaneous way gives the movement a stronger, more vibrant visual identity. It’s anti corporate subversiveness is what makes it so engaging and striking, lending itself to quick adaptions, home-made slogans and graffiti and that’s why I love it so much.

Click on the images to enlarge

The Little People Project

The Little People Project 1000 667 martin

Love some of the work on the The Little People Project, the best examples are those with a slight twist, making use of our urban landscapes. His work embodies elements of street art, sculpture, installation art and photography and are filled with political comment and the scourge of consumerism.

Old concept for Greenfisher

Old concept for Greenfisher 1200 900 martin

Quite a fun idea, before we settled on a simpler typographic solution.

Now Anyone Can own NASA’s Fabled 1970s Graphics Manual

Now Anyone Can own NASA’s Fabled 1970s Graphics Manual 782 518 martin

Would love to get hold of this, apparently you can now buy the brand manual for NASA

Buy here

FS Aldrin

FS Aldrin 1200 800 martin

Font Shop have produced a new font inspired by Buzz Aldrin:

FS Aldrin is a pure, modern rounded font available in 6 weights. Every curve and transition has been crafted by hand, giving a distinctive look and feel. They contacted the great man himself and were pretty excited with this reply: ‘Buzz and his team love the fonts and have been using them in his presentations. We hope everyone likes them as much as Team Buzz does!’

View here

Rather lovely typography

Rather lovely typography 1024 681 martin

Creating, thinking…

Creating, thinking… 1549 920 martin

The current state of my desk….


RealGroove 801 801 martin

Logo design for RealGroove record label


Bridges Hull website

Bridges Hull website 783 489 martin

Website designed for a small charity based in Hull. Aimed at engaging local youths with education and activity schemes, the design has a gritty feel to it to appeal to the kids involved whilst being professional enough to help target investors. The site is powered by WordPress and administered by the support team.