The Old Vic — 2016
I worked with The Old Vic, one of Britain’s best-known theatres, for 12 years, working with four iterations of their brand.
Matthew Warchus replacing Spacey as artistic director in 2015 brought a renewed approach of how the theatre should position itself, and the range of shows and events offered. As senior graphic designer I worked alongside the marketing director and Harry Pearce and his team at Pentagram to create a bold and raw approach focused on the typography-led posters from the theatre’s archive in Bristol.
Each of the productions also had their own imagery which was suggested by Pentagram after liaising with our department, the production team as well as the director and artistic director. I managed the relationship with the artists and liaised with them and the Pentagram team directly to relay and interpret collected feedback.
For the promotional posters for No’s Knife which were displayed in various locations across London including Islington, Brixton, Shoreditch and Hackney, I suggested splitting the artwork over two sheets so that one focused entirely on the typography, allowing the other to prioritise the commissioned illustration. This has since been repeated for further campaigns.
Portrait of Lisa Dwan: Rupert Smissen. Photos: Pentagram.
Glenda Jackson portrait: Sue Spaull. Photo: Pentagram.
Artist Akse at work on the John Boyega mural for Woyzeck. Photo: Peter Collins.
Portrait of John Boyega: Akse P19. Photo: Pentagram.
Photography: Manuel Harlan
Dr. Seuss Text, Characters and Images TM and ©1971. Dr. Seuss Enterprises, L.P. All rights reserved.
Inspired by Dr. Seuss’s classic tale, The Lorax was a new musical which ran over the competitive Christmas period in Matthew Warchus’ first season as artistic director of The Old Vic.
In conversations with the in-house teams regarding the post-opening artwork, I proposed photographing the Lorax puppet in a range of poses which could then be shortlisted for possible future use. This would allow the production to stand apart from the Dr. Seuss illustrations and give people more of an idea about the show.
I retouched our chosen images to remove the puppeteers so the focus was on the Lorax; allowing him to fill the space against a simple background.
From my history of working for The Old Vic I was able to offer unique insight on issues we faced as an organisation, as well as possible design solutions which have been incorporated into the branding guidelines.
I also led on creating working documents and templates in Photoshop and InDesign, adapting those provided by Pentagram across a wide range of assets. These will work in future to create great consistency in how artwork is displayed across marketing campaigns both in print and digital. This can be an incredibly time consuming process, especially as the theatre strives to announce a whole season of work at once meaning a great deal of artwork is needed to be supplied at the same time. To solve this issue – which had time as well as cost implications – I created a new workflow for creating images for partner websites which dramatically streamlined the process and significantly shortened the time spent artworking.
Bar and café menus bring together the new “at The Old Vic” titling structure, with limited colour so they can be printed in house. The paper choice provides a feeling of quality and luxury, whilst being recycled and uncoated so as to not feel decadent or excessively expensive.
Education evaluation booklets set in an adaptable A5 template with a strong grid system. Titles can run horizontally or vertically and align to the line spacing of the main Old Vic logotype.