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.

Vaughan Oliver, the visual master of 4AD passes away

Vaughan Oliver, the visual master of 4AD passes away 1200 800 martin

Vaughan Oliver, the acclaimed English graphic designer who defined the aesthetics of a whole post-punk genre via his work for London imprint 4AD amd one of the few graphic designers with an instantly recognisable style has passed away.

Born in Segefield, Durham County to working class parents “the young Oliver spent most of his school days in the ‘art room’ where he developed an interest in Surrealism and the work of Salvador Dali. The local record shop was his ‘art gallery’” writes Vaughan Oliver Archive’s Kickstarter page.

“After studying graphic design at the Newcastle-upon-Tyne Polytechnic, he went south to London to work for one of the big design groups. But Oliver wasn’t made for the world of commercial graphic design, and a chance encounter with the record label owner Ivo Watts Russell led to a 30-year marriage between Oliver and the cult indie label, 4AD. ”

“I like to elevate the banal through surrealism,” he has said. “Mystery and ambiguity are important weapons in a designer’s arsenal. I try to make images where you don’t always get “the message” straight away – but these things leave a hook in you. Leaving some space for interpretation is important.”

His enigmatic visuals are his trademarks, a tribute of his to Roger Dean and Dali, who inspired him to follow the path of graphic design and mesmerize everyone.

Oliver was best known for his work with graphic design studios 23 Envelope and v23. Both studios maintained a close relationship with record label 4AD between 1982 and 1998 and were to give distinct visual identities for the 4AD releases by many bands, including Mojave 3, Lush, Cocteau Twins, Dead Can Dance, The Breeders, This Mortal Coil, Pale Saints, Pixies, and Throwing Muses.

Oliver also designed record sleeves for such artists as David Sylvian, The Golden Palominos, and Bush.

Beautiful and captivating photographs of life on the London Underground back in the 1970s

Beautiful and captivating photographs of life on the London Underground back in the 1970s 962 801 martin

Holborn 1978 © Mike Goldwater. All images courtesy of Hoxton Mini Press.

Some things inevitably change while others stay the same. Did you know that in the 1970s, it was still acceptable to talk, kiss and even smoke on the London Underground?

What would that have looked like? Photographer Mike Goldwater spent many years documenting chance moments of intimacy and humour across the iconic network of tunnels that live beneath the capital.

The pictures, taken between 1970 and 1980, tenderly capture special moments, moments we still see today: the kisses goodbye, the buskers, the Friday night revellers, a man cradling a cat, and the commuters deep in thought and desperate to get home. We also see old ticket booths (before Travelcards existed), old school carriages, retro film posters and bell flares.

You can enjoy this fascinating series in a new book, London Underground 1970-1980. Arts writer Lucy Davies says in the book’s introduction: “Goldwater was already familiar with the Tube, though it was quite different from the one we know today. Back then, you had to buy your ticket from a window and show it at the barrier. The advertisements on the wall were unabashedly sexist. You could puff undisturbed on a cigar and tap your ash on the carriage floor.”

Lucy adds: “Some stations were lit only by individual hanging bulbs in white light shades, immersing travellers in a dim, Hades-like gloom. It made taking photographs incredibly difficult, forcing Goldwater to function at the very limit of his film’s capabilities, but it gives his pictures a wonderfully brooding, unearthly cast.”

London Underground 1970-1980 by Mike Goldwater is published by Hoxton Mini Press.

Battle of the Bogside photographer Clive Limpkin recalls defining moment of his career

Battle of the Bogside photographer Clive Limpkin recalls defining moment of his career 550 728 martin

Clive Limpkin almost slept through the defining moment of his career.


Having taken nine hours of pictures with little happening, the photographer – working at the time for London’s Daily Sketch – fell asleep on a settee in the foyer of Derry’s City Hotel.

When the trouble that would become known as the Battle of the Bogside broke out in August 1969, it was a young barman who woke him to tell him the rioting had started.

“I lifted my camera and just started to run towards the Bogside. He ran after me shouting that I hadn’t paid for my drinks. I dipped into my pocket and gave him £1 for the drink and £1 for saving my career.”


Reportage, political photography has always held a fascination with me. The immediacy and spontaneity of the shots capturing moments in time are more powerful than film.


Now aged 81 but still as sharp as ever, Clive will return to Derry next month to discuss the pictures that made him world famous, won multiple awards and were the inspiration for one of the Bogside’s most striking murals.
His picture book ‘Battle of the Bogside’ documenting his time in Derry was first published in 1979 and is now a collectors’ item.

It has been republished to commemorate the 50th anniversary of the three-day battle that followed an Apprentice Boys march in the city.

His picture book ‘Battle of the Bogside’ documenting his time in Derry was first published in 1979 and is now a collectors’ item.

It has been republished to commemorate the 50th anniversary of the three-day battle that followed an Apprentice Boys march in the city.

Recalling that time, Clive said: “When I arrived in Belfast first, my initial thoughts were ‘this isn’t going to happen’. I could see a Woolworths – you don’t have wars being fought in front of a Woolies.”

Clive travelled to Derry for what was his first big assignment and what would result in his most famous picture, that of a young rioter holding a bottle and wearing a Second World War gas mask.

“It was August 12 1969 and that picture simply fell into my lap,” he said.

“I do say that in the book – you stood still and kept pushing a button and the pictures just came.

“The press were treated so tolerantly by both sides, it was a situation I can’t see ever happening again. The tolerance was unnatural, we were avoided by rioters from both sides.

“I was shooting Bernadette Devlin, who was one of the few names I knew, and he just appeared – I got one shot and then he was gone.

“Years later I traced him and made contact to see if he’d let me photograph him. He begged not to identify him because of his business. When I heard that I realised the scale of it all, the lasting impact of that time.”

The idea for the book came when Clive, who had at this stage was working for The Sun, realised that the news agenda had moved on and there was a dwindling interest in Northern Ireland among the Fleet Street press.

“A mum and her kids were trapped hiding from bullets and gas. I shot the sequence and sent it off. London said it was great stuff but they’d no room for it.

“So I decided to do a book instead. Most publishers said we’d never touch a book where the situation could be resolved, so I went to Penguin and they said ‘we’ll take it’.”

After Derry Clive travelled to cover conflicts in places such as Angola and Cairo, but says Northern Ireland was still his biggest assignment.

“The right girl came along (his wife of 48 years, Alex) and then children – I wasn’t chasing it any more, it didn’t hold the same appeal, and sadly tabloid journalism came in even more so than before.

“I’ve lived a charmed life every day, I knew I’d never do better work than I did at that time and you know what, I’m fine with that.”

The Battle of Bogside is available from the Museum of Free Derry and bookshops priced £12.95.

It will be formally launched on August 13 at a Feile event in the Museum of Free Derry, where Clive Limpkin will discuss his experiences.

Read the original article from Alison Morris – Irish News.

50th anniversary of the Apollo 11 moon landing

50th anniversary of the Apollo 11 moon landing 1920 748 martin

NASA has released some incredible panoramas pieced together from images of the Apollo moon landings to celebrate their 50th anniversary of man walking on the moon.

Armstrong’s first step onto the lunar surface, on July 20th 1969, was broadcast on live TV to a worldwide audience. He described the event as “one small step for [a] man, one giant leap for mankind.”

Apollo 11 effectively ended the Space Race and fulfilled a national goal proposed in 1961 by President John F. Kennedy: “before this decade is out, of landing a man on the Moon and returning him safely to the Earth.”

Apollo 11 was the spaceflight that first landed humans on the Moon. Commander Neil Armstrong and lunar module pilot Buzz Aldrin, both American, landed the Apollo Lunar Module Eagle on July 20, 1969, at 20:17 UTC. Armstrong became the first person to step onto the lunar surface six hours 39 minutes later on July 21 at 02:56 UTC; Aldrin joined him 19 minutes later. They spent about two and a quarter hours together outside the spacecraft, and collected 47.5 pounds (21.5 kg) of lunar material to bring back to Earth. Command module pilot Michael Collins flew the command module Columbia alone in lunar orbit while they were on the Moon’s surface. Armstrong and Aldrin spent 21 hours 31 minutes on the lunar surface at a site they named Tranquility Base before lifting off to rejoin Columbia in lunar orbit.

Community Festival 2019

Community Festival 2019 2048 1366 martin

Great fun at the Community Fest, Finsbury Park, London – got a few decent shots.

The Little People Project

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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.


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“…an image I felt was so good that I refused to put type over it”

– Mark Farrow


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Still quite fun…


Mountain biking

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My hobby and time to think…

It’s just a meter

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Selfie guys

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Quite like this one

Creative juices

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Looking through my photos for something different…..

Still one of my favorite photos

Still one of my favorite photos 2048 1365 martin


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Had fun capturing these images in the sunshine today