Wynkyn de Worde Society


Founded in 1957, the Wynkyn de Worde Society is ‘dedicated to excellence in all forms of printing’. It’s a rather fantastic society which gets together regularly to eat, drink, talk about design and printing, and drink some more. The membership is made up of talented and frankly fascinating folk from right across the graphic arts spectrum – printers, graphic designers, calligraphers, publishers, typographers – all sorts. Each year they ask a different member to be their Honorary Designer, and this year they asked Alistair, creative director of We Made This, to take on that role.

The society holds a series of wonderful lunchtime and evening events across the year, and one of the Honorary Designer’s jobs is to create the booking forms for those events. Alistair designed each leaflet to respond to the theme of the respective event. We thought we’d share a few of them here.

In March, Daniel Mason gave a wonderful talk about recreating the packaging for Joy Division’s albums. Having found a copy of the original image used to create the Unknown Pleasures cover art, Alistair created a Factory-style booking form. This was printed onto Colorplan Pristine White. Alistair also created a memento for the event.





In July, the Society held its annual Members’ Garden Party. For this Alistair created a botanic pattern based on a Gunnera leaf.




The leaflet was printed onto Colorplan Pistachio with a leaf-like embossed texture.



In September, Professor Lawrence Zeegen gave a fascinating talk about the history of Ladybird Books. For that Alistair created a leaflet that matched the exact size of the Ladybird books, and reworked type from one of the original books to create a text page inside it.





Later this month, Nick Newman will be giving a talk about The Wipers Times, the newspaper written, printed and published by British soldiers in the trenches in the First World War. Alistair carefully replicated the typographic style of the newspaper for the booking leaflet, and reworked some text from the newspaper too, making it specific to the event. (He’s also worked with Matt Mackenzie at Paekakariki Press to recreate a letterpress printed edition of the newspaper – we’ll tell you all about that next month.) The leaflet was printed onto Colorplan Stone.





And finally, for the Christmas party, which is held at the Garrick Club, Alistair created a leaflet that looked like an old theatre playbill, playing with some of the lyrics from the ‘Deck the Halls’ Christmas carol.




If that’s whetted your appetite, take a look at the Wynkyn de Worde Members’ Handbook too.

The Cinema Museum

cinema museum

There’s something incredibly special about the experience of going to the cinema. That initial moment of walking in from a hectic high street to a quiet, dim auditorium. Sinking down into the comfy embrace of your seat. The gentle and excited buzz of chatter through the adverts and trailers. The sharp focus that being in a darkened room in front of a huge screen provides. That magic moment you sometimes get when the screen widens before the main film. The expectant hush of a crowd as the first titles begin to roll. The collective and audible expression of shared emotion during the film – gasps, laughs, screams, whimpers, sobs and occasionally even applause. Basking in the afterglow as the credits drift up to the heavens at the end of the film.

Nowadays of course, cinema, as a way of spending your precious leisure time, competes against myriad other forms of screened entertainment: TV. Netflix. YouTube. DVDs. The vast depths of the internet.

But back in the 1940s, cinema was the main form of public entertainment. No TV. No Internet. In 1946 alone, in the UK, cinema audiences hit 1.64 billion (that’s 1,640 million). That’s a vast number of people going to the pictures. Since then there has been a massive decline, principally because of television; and by 1984 audiences had dropped off a cliff, to 54 million (though since then they’ve been gradually climbing, back towards 200 million).

A huge number of cinemas closed over the second half of the twentieth century. And that rich social, architectural and cultural history could all too easily have been lost with their closures. Fortunately, a few people had the foresight to save as much as they could, preserving that history for us.

And one of the very finest collections can be found at the fantastic Cinema Museum, in an old Victorian workhouse where Charlie Chaplin spent time as a child, tucked away in a corner of south London.

cinema museum exterior

cinema museum sign

The museum’s unique collection has been put together by Ronald Grant and Martin Humphries, and is the result of a life long passion for cinema. Starting as an assistant projectionist with Aberdeen Picture Palaces, Grant went on to work at the BFI, and the Brixton Ritzy, not far from the museum’s current home. He and Humphries established the museum in 1986, and it moved from place to place until they settled at The Master’s House in Kennington in 1998. It is maintained there thanks to Grant and Humphries, and a small and dedicated force of volunteers.

We went along to the museum earlier this week to have a rummage around, and to take a few photographs.

The museum is a glorious mix. You step through the front doors into a hallway stuffed to the rafters with an incredible collection of projectors and beautiful typographic cinema signs.

projector lens

standing sign

stalls sign

seating indicator

the majestic

prices of admission

cinema house sign

odeon saftey first

seating board

ABC manager

pathe news

secret of blood island

mrs wiggs of the cabbage patch

Odeon Car Park sign

balcony full sign

high fidelity

They also have other bits of cinematic ephemera: uniforms, equipment, playbills, newspapers, magazines…


cinema newspaper

Castle Bolton

pathescope box

projector lenses

35mm projector sign

On the ground floor there’s a small screening room with a stunning set of original cinema seats.

cinema seats

There’s also an extensive library and archive, with more than a million photographic images; film sheet music; books; magazines; catalogues and other ephemera. They also have more than 17 million feet of film.

filing room

filing boxes

filing drawer

cinemas room

From there, you make your way through the building, and upstairs, past a huge Granada cinema sign, to a truly magnificent main room.


granada sign

illuminated sign

cinema museum interior

It’s quite the most incredible place. It’s preserving a vital part of our cultural heritage, and doing so with warmth and love. As well as providing an archive, they are open for pre-booked visits, host a programme of events, work with educational institutions, make items available for loan to other institutions, and are available as a venue for hire.

We went along to a screening there a few weeks back, and the atmosphere was really wonderful. It is absolutely worth a visit.

The museum is set up as a registered charity, and remarkably receives no public funding, relying instead upon donations. And, worryingly, they have no guarantee that they’ll be able to stay in their building beyond next year. For such a wonderful institution to have such an uncertain future is nothing short of scandalous. And peculiarly, it feels like the UK film industry haven’t really realised what a precious treasure trove they have right on their doorstep.

We can only hope that this marvellous place is secured for generations to come.

If you’d like to help, pop along to their Support page, or get in touch directly.

Baddeley Brothers – an account by the Gentle Author


Printing is good. Books are good too. So a book about printing? Sign us up.

The book in question is an account of Baddeley Brothers, the specialist printers, by the Spitalfields Life’s Gentle Author. It’s the second collaboration between the Gentle Author and our studio partner David Pearson, and features wonderful illustrations by Lucinda Rogers. It’s a great subject and a fantastic creative team – so it’s no surprise that it’s a glorious book.

We nipped along to St Bride’s yesterday afternoon for the launch (the perfect place for it, since much of the archive material featured in the book is held there).

The sumptuous cloth-bound book tells a story that reaches across four centuries, and is a real treasure trove. It features archive imagery from throughout the company’s history, as well as a host of tipped-in samples, used as section dividers, illustrating the range of Baddeley Brothers’ print techniques. There’s also a fine glossary of printing terminology, and an anatomy of envelope design.






Lucinda Rogers’ illustrations document Baddeley Brothers as it is today, her wonderful and energetic line work brilliantly capturing the mood and atmosphere of printers.



David’s quiet and considered design gives the subject plenty of room to breathe; and the tipped-in dividers are just wonderful, all featuring Commercial Type typefaces.



We asked David about his experience of designing the book: “What I loved about it was that the Gentle Author has an uncanny ability to bring people with shared interests together on a project. Commercial Type have long been interested in the work of the Caslon Type Foundry, which was based right next to Baddeley Brothers. I’ve worked with Baddeley Brothers on several jobs, and have a strong relationship with Commercial Type too (many of whose typefaces are based on materials held at St Brides).”

There’s a wonderful alchemy going on there, and it’s a rich mix that has produced a stunning result. We can just imagine the joy of some young graphic design student picking it up off the St Bride Printing Library shelves decades hence. No doubt Baddeleys will still be going strong.

Glorious stuff.

Buy the book.

(Graphic) Designer Watches


So, we were at one of the events at the London Design Festival last month, and bumped into a couple of design colleagues. We noticed that all three of us were sporting the same type of watch – the INSTRMNT 01 (above). This made us realise that, although we like to think we’re all special unique unicorns with our own free will, we’re actually just brainless automatons who can’t help but be sucked in by the same things.

But, it did get us wondering: which watches are most popular amongst the design community?

The INSTRMNT watches are made by a small team in Glasgow, and they have a stripped back simplicity that (evidently) appeals to graphic designers. They’re the polar opposite of bling, and adhere closely to Dieter Rams’ Ten Principles for Good Design, particularly ‘Good design is as little design as possible’.

For a very similar feel, you don’t have to go much further than Uniform Wares, who started up in London in 2009, and seem to be a particular favourite of architects:


Of course, you could just go direct to source, with a Braun watch:


Clean, simple, functional.

Another favourite we’ve spotted adorning the wrists of more than a couple of designers is the Max Bill by Junghans:


Max Bill was a Swiss designer, type designer, architect, painter and sculptor (polymath much?) who studied at the Bauhaus under Wassily Kandinsky and Paul Klee. Originally made at the beginning of the 1960s, the watches and clocks he designed for Junghans have a really refined elegance.

For something a little chunkier, but still iconically Swiss, perhaps the Mondaine Official Swiss Railways Watch?


These are based on the patented design of the Swiss railway clock, designed in 1944 by Hans Hilfiker, an employee of the Federal Swiss Railways. The watches were first produced in 1986, and quickly became a classic. They’re sort of the equivalent of big round black framed glasses.

And if you’re discussing Swiss classics, it’s pretty much impossible to avoid mentioning Helvetica. Last year Mondaine produced their Helvetica No. 1 watch:


Naturally they come in light, regular and bold. And as a little additional quirk, the lugs are based on the Helvetica numeral ‘1’. See what they did there? Now, we’re more than happy to see some elegant typography on a watch face… but perhaps calling the watch Helvetica, and sticking the word Helvetica on the face is slightly overcooking it?

Of course, designers are also historically more than a little partial to Apple products, so perhaps the Apple Watch should be included in this list?


We’ve seen a few of them in the wild though, and still don’t really understand what they’re actually for. Where the iPhone felt like a complete game changer when it launched, turning an existing industry on its head, the Apple Watch feels like a bit of a gimmick.

So, which watch ticks the right box for you (if you’ll pardon the pun)? Any of the above? Or something else entirely?

UPDATE (21 October 2015)
We couldn’t let this post stand without including the newly launched Sekford Type 1A watches, which feature bespoke lettering and numbers drawn by Commercial Type. They’re not cheap, by my they’re beautiful.


Browse through the comments below for watch links from other readers.

Also, it’s interesting note how popular the time around ten past ten is for setting the watches to when photographing them. Evidently a watch and clock photographic tradition.

The 2015 D&AD Annual cover


I’m lucky enough to share studio space with two rather talented designers: David Pearson and Paul Finn. We work together from time to time, and our most recent collaboration launched last night: a series of covers for the 2015 D&AD Annual.

D&AD is a ‘global creative design and advertising association’, and the D&AD Annual collects together the best work entered for its yearly awards scheme. Dave was commissioned by GBH’s Mark Bonner, this year’s D&AD President, to create the cover for the Annual.

Dave, Paul and I had been discussing the brief in the studio, chewing over possible solutions. This happens a fair bit, even though we each run our own practices – it’s one of the many benefits of sharing space together. We’d been talking about the fact that when you boil D&AD down to its essence, it’s all about the awards that they give out each year. They come in the form of oversized pencils, and two new ones have been introduced this year: the Wood Pencil and the Graphite Pencil.


The Wood, Graphite and Yellow Pencils roughly equate to bronze, silver and gold awards. The White Pencil is for Yellow Pencil-worthy work that also affects ‘real and positive change in the world through creative thinking’. And the Black Pencil is for work that is ‘ground-breaking in its field’ – only a handful of them are awarded each year, if any.

With the introduction of the full family of five Pencils it felt like the right time to put them front and centre on the cover.

Dave had been playing with a delicious GF Smith wood-effect stock, Woodside Garden Pine, that I’d used for one of my postcards for Benwells, and was looking at ways to incorporate it on the cover. I suggested that it would look great used across the whole cover, and had fished out a D&AD Pencil that I had in one of the drawers next to my desk. Dave took it and stood it on a sheet of the Woodside, and then Paul laid it flat, and we had one of those lovely moments where you all just go ‘Ah! That’s it!’.

Very generously, Dave suggested we work together and make it a collaborative design. We decided on a series of five covers, each one featuring one of the awards at actual size, shown front and back. Clean and simple.






As the project progressed, we tried out a lot of different options, adding in copy, logos and spine text in various shapes and sizes. All along though, we were basically trying to hang on to the simplicity of that initial moment.

This is how the back cover of the Yellow Pencil version looks:


Of course, the idea still had to be turned into actual printed covers. The Woodside stock has a coating on it that can make some inks or foils react in unexpected ways – at one point the covers were all working except the black one, on which you could scratch the ink off with your fingernail. Fortunately for us, D&AD have a fantastic production manager, Martin Lee, who was exceptional at working out the best way to realise the idea. He provided multiple print tests and proofs until they were exactly right.

We’re dead chuffed with the results.

You can buy the D&AD Annual here, and read an interview with Dave about its creation over on It’s Nice That.

Anthony Burrill + Harvey Lloyd


Well now, this is all kinds of lovely.

The good folks at Harvey Lloyd Screen Print in East Sussex have just sent us this promotional booklet, showcasing their services. Designed by Anthony Burrill (who has his own work printed by the team there), it’s an absolute cracker. 14 pages of stunning printing and design on a range of heavyweight substrates (greyboard, acrylic, die-cut 2000 micron Cairn Eco Kraft and more). It even smells fantastic – that stark industrial smell you only get from screenprinting.





They also sent us a couple of promotional flyers – one on a slab of 10mm birch faced plywood, the other on a slab of 10mm thick cork, each of them printed with two flouros and white and black to the front, black only to the reverse.



Fantastic stuff – it’s made us hungry to get busy with a squeegee again.

See more of their work over on Instagram.

Books on our desk

you are the friction cover

We’ve had a few books on our desk recently that we’ve been meaning to shout about.

First up, You Are The Friction, a collection of short stories published by Sing Statistics.

Sing Statistics is the independent press set up by designer Jez Burrows and illustrator Lizzy Stewart. You Are The Friction is their fourth book following I Am The Friction (2008), We Are The Friction (2009), and Reverence Library, Vol. One (2011).

It was actually published at the beginning of 2014, but we only recently picked it up at Beach London (a small gallery just off Brick Lane) and it’s an absolute belter.

It features twelve stories inspired by twelve illustrations, and then twelve illustrations inspired by twelve stories. Short story collections can leave you feeling a little empty – like you’ve been grazing on junk food rather than having a really hearty meal. But this collection is varied and delicious – like the very best tapas, if you’ll excuse us extending that food metaphor just a little too far.

The impressive roster of illustrators even includes the likes of Oliver Jeffers, Tom Gauld and Rob Hunter.

you are the friction spread

Here’s a trailer for the book: a reading of the story ‘Flowers for Pinky Only in Theatres’, written by Joshua Allen, based on an illustration by Scott Campbell.

Great stuff.

Next up, published by Laurence King just last month, is Graphic Design Visionaries, by Caroline Roberts, editor of Grafik, and friend of the studio.


It’s a chronological taster of the work of seventy five leading graphic designers / graphic design studios from right around the world during the twentieth century. A lot of the names you’ll probably know (Abram Games, Paul Rand, Saul Bass, Milton Glaser, Peter Saville, Stefan Sagmeister) but the reach is wide enough to pull in a fair few you may not. Each designer / studio gets a double page spread, just enough to whet your appetite to head off and find out more.




There’s a wealth of fantastic work on display – we particularly like Giovanni Pintori’s work for Olivetti.

Each spread also has a condensed timeline showing the highlights from each designer’s career.



As Caroline mentions in the introduction, there’s a glaring disparity between the number of male and female designers. Unfortunately, graphic design as a profession was largely dominated by men for many decades, but fortunately that’s changed in recent years, and it seems certain that the follow up to this book will have more balance.

You can win a copy of the book over on the Grafik site at the moment (the deadline’s 21 September 2015).

Last but not least, The Little Book of Typographic Ornament, also from Laurence King, will be published later this month.


A rich resource for plundering, the book features ornaments taken from 18th Century type foundry specimen books.

Typographic ornaments were decorative embellishments that could be set at the same time as metal type by a printer. They were available in various forms: rules (uninterrupted straight lines), borders (repeated decorative designs), and printers flowers (or fleurons). They could be used individually, or combined together in elaborate patterns.

Author David Jury lifts the book from just being a basic resource with a concise but thoughtful introduction, and short pieces preceding each section of the book.





You can download complete a zip file of the ornaments from the Laurence King website using a code in the back of the book. Each image is saved as a 1200dpi bitmap – most of them at a fairly decent size.

One Story, Many Endings

The Ministry of Stories recently hosted a conference, Write for a Bright Future, the first gathering of all the projects around the world inspired by Dave Eggers’ and Ninive Clements Calegari’s 826 organisation in the USA.

Over 150 delegates attended from centres all over the world – including Roddy Doyle’s Fighting Words in Belfast and Dublin; Story Planet in Toronto; Sydney Story Factory in, well, Sydney; Porto delle Storie in Florence; and from a host of other centres, including of course 826 itself.

One of the many highlights of the conference was getting Dave Eggers, Nick Hornby and Roddy Doyle together to be interviewed by three students from the Ministry. Check out the video above – it’s well worth a watch.

Read more about our work for the Ministry here.

Greetings and Thanks from Benwells and We Made This



Paul Haslam, director of the fantastic printers Benwells (we designed their identity a few years back) recently asked us to create a promotional mailer for his business. Paul wanted to have something to send to existing clients, and also to send out to potential new clients. We decided it would be great to create something that not only showcased Benwells’ particularly fine work, but which was also something that people could actually use.

So, we had a think about the sort of things you might send or receive in the post. Which got us thinking about postcards.

Now, it’s not that often you get sent a postcard these days. Email, texting and social media have usurped that role for themselves.

But when you do receive a card – well, it feels just great. It shows that someone thinks you’re worth just a little bit of effort - they’ve stepped away from their computer, found a card, then found a pen (that works), carefully hand-written the card, found your address, bought a stamp, and even walked to the postbox. Probably in the rain. (Actually, that’s quite a bit of effort – they must really like you.)

So we teamed up with Benwells to create some postcards that are a pleasure to send, and a joy to receive. A couple of limited edition packs of postcards in fact – one pack, ‘Thanks’, to say thank you; the other, ‘Greetings’, to say hello.


We created two alternate sets of packaging for the postcards – one set for Benwells, and another for We Made This. Both feature white foil-blocked Nomad Buff sleeves, and are sent out in tear-open Colorplan envelopes – green for Benwells, grey for We Made This.





Each pack contains ten different cards, all using delicious G·F Smith papers.

We don’t want to give the game away by showing you the whole lot, but here are just a few from the Greetings pack.

‘Howdy’ features a white foil on Woodside Garden Pine:


‘Hola’, echoing the Spanish flag, uses a yellow foil on duplexed Colorplan Bright Red and Factory Yellow:


‘Ey up’ features a white foil on a fantastically thick (1200gsm) Nomad Bedrock:


And then there’s the Thanks pack:


‘Much Obliged’ is blind debossed on 400gsm Moondream:


‘Lots of Thanks’ features white and super-diffuser foils on Colorplan Dark Grey (with a Buckram emboss) duplexed with Colorplan Factory Yellow:


‘Fanks’ uses a copper foil, again on the Nomad Bedrock:



The reverse of each card details the process used to print it, and what stock it’s printed on. So even if you don’t decide to send them on to anyone, they’re still really useful.

We (and Benwells) will be mailing the packs out over the next couple of weeks – so keep an eye on your postbox.


Horniman Museum


We nipped along to the Horniman Museum in south London yesterday. It’s brilliant. The ground floor features a fantastic Natural History collection, with more than a touch of Wes Anderson about it.



IMG_2847  IMG_2844






Some of the signs feature beautiful hand rendered text:



Well worth a trip.