Design

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Since I painted it, the shopfront has been replaced by a new replica, which is a close copy of this Georgian original.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

 

Trust

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.

https://slinkachu.com/worka

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

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.

www.bridgeshull.org

 

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