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Work at the station has recently uncovered these amazing advertising posters in non-public areas and that date from c1956 - 1959 when the station's lifts were removed and replaced by escalators. These are in an old lift passageway.
This great image is to advertise the opening of the then new Iron & Steel Gallery at London's Science Museum. The powerful image, sadly not 'signed', shows a transfer ladle during a 'pour' - one of the great visuals of the age of iron & steel.
We will be leaving these intact - and please do not pester the station staff as the posters are wholly inaccessible - which is why they've probably survived 50 odd years!
The photos were taken officially - please do credit London Underground in any links.
It was late at night, I stood on the balcony and looked up at the sky. The stars seemed dim, and it made me feel weird. There were lots of clouds, and they made the stars muted. The painting was surreal. But still, there was no anxiety or fear.
Suddenly, a luminous dot began to move in the sky. That day, a satellite was launched and this information was everywhere in the media. Nothing unusual, the first thought in my head. But gradually the luminous dots became more and more, they moved in a well-defined orbit, sometimes at different distances from each other, sometimes close, sometimes farther away. Slowly, one after another, at different intervals, they flew through the sky into the dark clouds.
Some glowed and did not flicker, some gave themselves extra speed and began to glow brighter. The stars didn't look real, they seemed like satellites hanging in the sky.
There seemed to be something up there other than satellites, it watching both them and us. It was as if something had changed inside, another world had been born. It was easy, unexpected, few people understood it at that time. That's how we got to the next level. We opened the doors without knowing what was coming next.
House Arryn
Sigil - Falcon Flying into Half Crescent Moon
Motto "As High As Honour"
After watching the awesome Game of Thrones series I became slightly obsessed with each of the House's and their identity or sigil.
Having found the houses and thier representative sigils. I set about creating a vector for each one of them and creating a poster. I hope you like them as much as I do.
House Martell
Sigil - A Red Sun Impaled on a Golden Spear
Motto "Unbowed, Unbent, Unbroken"
After watching the awesome Game of Thrones series I became slightly obsessed with each of the House's and their identity or sigil.
Having found the houses and their representative sigils. I set about creating a vector for each one of them and creating a poster. I hope you like them as much as I do.
Products with this on are now available from my Redbubble
T-Shirt also available from Redbubble
A very bold poster, part of a series using a similar strapline, issued by the detergent, fats and oil company of Lever Brothers. The brand, credited with being the first packaged and branded laundry and cleaning soap, was the foundation of the company's success and had been introduced in 1884/5 at the time William Hesketh Lever, a grocer in Bolton, Lancashire, set up the concern that was to bear his and his brother James name along with chemist William Watson. Lever's grew enormously, including takeovers of many competitors, and in time were to become one of the giant's in their field. As well as soaps and detergents they became involved with the allied manufacturing of oils and margarine and this led, in 1930, to a merger with the Dutch concern Naamloze Vennootschap Margarine Unie and the formation of Unilever.
As the advert notes Lever's were based in Port Sunlight on the Wirral, named after the soap, the company town and indeed the poster was printed there. They were known in the UK for their paternalism but it is worth recalling that in common with many other concerns of the day their treatment of workers at their overseas sites, such as the Belgian Congo, involved what is regarded now as forced labour.
A pelican featured in the 1950s design book "Posters: Fifty artists & designers analyze their approach, their methods, & their solutions to poster design & poster advertising." Contains works and comments by many early mid century greats. : )
Saw these vintage oil cans at a car show and traded some old parts for them. They were a bit too beat up for display, but I thought they'd photograph well. I was right.
After some focus stacking and a couple quarts of Photoshop work they kind of look like pop art done by Norman Rockwell.
24" x 34"
The catalogue to an exhibition held by Shell-Mex and BP Ltd of their advertising posters, brochures and other publicity materials that was held at the New Burlington Gallery in London. For the occasion the company commissioned one of the foremost poster artists of the day, Edward McKnight Kauffer, to design the covers to the catalogue booklet. This he did with his usual bold style - the artist and palette superimposed on a scene of industry and technology, symbolic of Shell-Mex and BP's apparent patronage of 'commercial art'.
As the introduction, by Frank Rutter, notes the company came into the the field of using graphic design as the basis of their corporate identity following the example of London's Underground and that organisation's Commercial Manager, Frank Pick. It was Pick who, arguably, helped McKnight Kauffer on to the ladder of success with his early post-WW1 posters for the Underground Group. McKnight Kauffer went on to design Shell publicity, alongside a roll call of now famous graphic designers and artists under the patronage of Jack Beddington. Beddington joined Shell in 1928 and after the formation of the joint marketing concern Shell-Mex and BP in 1932 he rose to become Director of Publicity for the company.
The book is printed by Lund, Humphries of the County Press in Bradford and the typography and layout are 'very' Lund, Humphries for that date.
The company organised a second such exhibition in 1938.
Today a few words about practicality. It's something different for everyone. And at the same time, there are many similarities. I only take what I need, use it as much long as I can. Just how much I need, no more. Only for business, for important purposes, tasks. There's a rational grain to it, no one can objecting. That's how life works, if you live it without meaning, you won't get great results. And only weighing everything for and against, acting purposefully, without unnecessary fuss, calmly, step by step and then the dream becomes closer. A simple choice that everyone can make. Here it is not a question of a practical attitude to things, but to life and the world as a whole. About the world that we are losing today, don't you think?
The catalogue to an exhibition held by Shell-Mex and BP Ltd of their advertising posters, brochures and other publicity materials that was held at the New Burlington Gallery in London. For the occasion the company commissioned one of the foremost poster artists of the day, Edward McKnight Kauffer, to design the covers to the catalogue booklet. This he did with his usual bold style - the artist and palette superimposed on a scene of industry and technology, symbolic of Shell-Mex and BP's apparent patronage of 'commercial art'.
As the introduction, by Frank Rutter, notes the company came into the the field of using graphic design as the basis of their corporate identity following the example of London's Underground and that organisation's Commercial Manager, Frank Pick. It was Pick who, arguably, helped McKnight Kauffer on to the ladder of success with his early post-WW1 posters for the Underground Group. McKnight Kauffer went on to design Shell publicity, alongside a roll call of now famous graphic designers and artists under the patronage of Jack Beddington. Beddington joined Shell in 1928 and after the formation of the joint marketing concern Shell-Mex and BP in 1932 he rose to become Director of Publicity for the company.
The company organised a second such exhibition in 1938.
The book is printed by Lund, Humphries of the County Press in Bradford and the typography and layout are 'very' Lund, Humphries for that date as seen on this page. The tipped in colour plate is a reduced reproduction of one of the comapny's famous lorry bills - posters that were positioned on the fleet of vehicles that delivered Shell-Mex and BP products. This is, aptly, "Artists prefer Shell" and is by John Armstrong and was number 49 in the long series.
Many people now know the story of the uncovered and disused ex-lift passageways in Notting Hill Gate tube station that LU workers rediscovered in 2010 after 50 years of being sealed up. I've now added a few more pictures to the set - a set that has garnered more attention that I could have ever imagined!
This shot shows one of the old passageway walls with a set of adverts that included amongst others the memorable Daphne Padden 'fisherman' poster for Royal Blue motor coach services, Victor Galbraith's 'elephant' poster for London Transport and an Ideal Home exhibition poster. The later wall that forms part of the reconstruction can be seen as well as the original 1900 white tiles of the Central London Railway who built this part of the station.
The posters and passageways have, after much thought, been re-entombed and are again inaccessible so please don't pester the station staff!
In the relatively new 'house style' this bold and simple poster is a fine example of the clarity that British Rail's corporate identity introduced in 1965. Crafted by the Design Research Unit, and with Gerry barney's now iconic double arrow logo, the poster partly uses the commissioned Rail Alphabet designed by Margaret Calvert and Jock Kinneir and includes the selective use of the corporate colours to highlight text. This poster conforms to the Design Standards that had been issued and it is still remarkably contemporary - a clean piece of straightforward design and typography.
Approved poster for Ingrid Michaelson / AJR at The Fillmore, SF, CA.
©2016 The Fillmore Corporation F1439
"The frightening and most difficult thing about being what somebody calls a creative person is that you have no idea where any of your thoughts come from, really. And especially, you don't have any idea about where they're going to come from tomorrow." - Hal Riney (from the documentary "Art & Copy")
Every time I start work on a new poster for The Fillmore, I'm reminded of this quote. You would think, after all these years, the process would come naturally, but instead it always starts with a good amount of self-doubt and uncertainty. Even after I settle on a direction, I still need to convince myself I possess the skill to get the idea out of my head and into the world.
As for Ingrid Michaelson, I stared at a blank sketchbook for quite a while. Going through her discography, it became clear that this poster needed to be about connections between people. The executional challenge, then, became finding what would convey this quickly. At first, I didn't entirely like the idea of hands reaching for each other as it felt saccharine and expected. But, having the hands' silhouette reveal a storm and posing a dilemma – that we don't know if this connection is good or bad – felt like a worthy story.
13" x 19" on uncoated stock.
House Tyrell
Sigil - Golden Rose
Motto "Growing Strong"
After watching the awesome Game of Thrones series I became slightly obsessed with each of the House's and their identity or sigil.
Having found the houses and their representative sigils. I set about creating a vector for each one of them and creating a poster. I hope you like them as much as I do.
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