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I think most British signwriters will
have been influenced by the
enormous talent of Cecil Wade -
lettering artist, at his peak from the
thirties through to the fifties.
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Gold leaf - always looks good when used for outline.
Gold leaf - always looks good when used as body colour. Gold leaf - always looks good!
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I always like to see a straight forward sans serif, even for a headline. Shade can make the job look 'finished' as long as its not just used to mask poorly executed shapes.
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The introduction of Futura Display was a real boon. Full of character, strong, simple and adaptable. I may have overused it in the early days.
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My own version of Trajan, digitised distorted and shaded. A sign made for H.G.Matthews Brickworks
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New casual livery for this for 24 hour recovery truck for C.G.Motors.
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These were unusual jobs. Detail views of large window re-dressing blinds for two of London's West End stores. Charcoal grey open weave material . . .
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and:
gold on aubergine, tight weave.
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'50s retro feel to this 34" x 26" A-frame sign.
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Ooh look! Fancy a cream tea?
Riverside tea garden between Marlow and Hurley on the Thames Path
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Modern steel pavement signs
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Chesham used to be a Mecca of signwriting. My Father founded Bucks Signs just after the second World War and was one of five superb writers working out of this relatively small market town. Each had a slightly different speciality but standards soared as each wrote to impress the others. Although it's not my own work, I couldn't resist including this rare picture of a fascia by Eric Norman, a true master of Old English lettering. Old English rarely looks good unless tightly spaced and fairly condensed, this is neither but I doubt you would ever find a finer rendition
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