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CONTENTS

Device

2

Introduction

3

Lyle’s Golden Syrup

4

Penguin Classics

6

London Underground Tube Map

8

Red Telephone Box

10

Park Hill

12

Monopoly

14

Royal Mail

16

Cadbury’s Chocolate

18

Two Pound Coin

20

The Dalek

22

Vivienne Westwood

24

Wallace and Gromit

26

Acknowledgements

28

READING FILTER

2  british design classics reading filter

INTRODUCTION INSTRUCTIONS

What makes a design classic?

It could be argued that it is something that can stand the test of time... or something that is ever changing. A classic design can be the simplest of things that go unnoticed each day or maybe it’s something that stands out against the crowd. Whatever it is, Great Britain is home to hundreds.

We’ve taken a collection of our favourite British designs from all over the Isles, from the everyday items to famous TV stars. This book covers an eclectic mix from different areas of design, including architecture, packaging and logos.

Using the book is really simple, all you need is the reading filter that comes with the book.

1) First place the blue acetate over your text and the red text will magically appear!

2) After you have read all the red text, place your red acetate over the text to read the blue writing.

Practice on the text below:

BritishDesign DesignClassics Classics British

british design classics introduction 3

That is the whole why Golden syrup isn'treason just a classic he decides eat theclassic honeydesign. out design, its atoBritish of theislion andcant from that came the This signifi because there statement: of the eater came isn’t a lot of“Out designs that have stayed forthto meat and out of Lyles the strong came true being British.

Golden forth the sweetness.”

That is the Syrup has been manufactured in justification behind No one can England since 1880.logo.

The golden understand why Abram Lylethe chose syrup designs were named oldest this statement to be branding designs bythe Thetrademark, Guinness but in my opinion I think he has World Records 2007.

Thethat package trieddesigned to give anwith image that Golden was a Victorian style syrup is made from the strong. that hasn’t really changed since ThisThe is one that changed has stood 1880. logoproduct has hardly the25 test of time in years and and has stayed becomeowned one of be amost British person butproducts it has also the recognizable to spread into other countries with be found in anyone’s home in the its success.

Golden is sent United Kingdom.

Thesyrup company has all over China, Southout done sothe wellworld that itto:has branched Africa, Yemen, Australia and the USA. into other products and countries.

In Thethe design is consistent 1921 business vastly improved throughout transfer other when owner,the Abram Lyletomerged countries apart from language his company with Tate.

Which was changessugar on therefi packaging. another ning business.

This has makes the package design Lyle also worked with Mcvities universally appealing, thus like to make many differentand products very successful.

That isn’t the only cakes and biscuits. expansion of thismessage design; itbehind has also The trademark been incorporated into other the Lyle’s Golden syrup logo product is like Mcvities Syrup cake This and “strong cameGolden forth sweetness.” biscuits, which put the design to a statement was taken from the old whole newof use the (book logo. There testament thefor Bible of Judge is not one supermarket you can go 14:14).

In this verse when Samson to andonnot a Golden Syrup food went hissee travels he kills a lion branded product. that attacks him and he leaves the In my opinion this is to probably the body there, but he has return on greatest brand to ever be a the sameBritish path that when he sees designed.

This that brand has spread into swarm of bees has made a honey different parts of thelion. foods comb in the rotting He industry decides and different countries but lion the design to eat the honey out of the and has always stayed same and from that came the the statement: “ Out that is eater what came makesforth the Lyle’s Golden of the meat and out Syrup a British design classic. of the strong came forth the sweetness.”

4

british design classics lyle’s golden syrup

LY ’ LES GOLDEN SYR SYRUP

“out of the strong came forth the sweetness”

british design classics lyle’s golden syrup 5

PENGUIN CLASSICS

Tschichold designed a template forPenguin all Penguin books with positions Ever since the creation of the first paperbacks in 1935, their for jackets the title and author’s nameevolving with a line between the two.

He unifi the design have become a constantly part of Britain’s culture anded design history. of thethe front, spine and back and redrewinexpensive Edward Young’s amateur Penguin With radical concept of producing paperback editions of high symbolbooks in eight variations (Doubleday Richard, 2006, 45). Special set became of booksan quality and successfully attracting a mass audience, Penguin were introduced popularize art to theinpublic art galleries. exemplar of booktodesign undermodern Jan Tschichold 1940soutside and Germano Facetti Within three <http://www.penguin.co.uk/static/cs/uk/0/aboutus/aboutpenguin_ years he had defined an intellectually rigorous and inspiring visual in the 1960s language for Penguin. companyhistory.html>.

His successor, the typographer Schmoller had a rich knowledge of type, Being the publisher of the early Hans productions Allen Lane considered illustrated tendedto tobe refitrashy ne Tschichold’s templates than inventing his own. jackets However books and insisted a simplerather horizontal grid for Penguin’s in he did change theed Penguin gridoffrom to vertical in 1951.

Thefor result colors that signifi the genre eachhorizontal book: orange for fiction, green crime was blue the division of the cover into application three vertical which enough and for biography.

Rigorous of stripes, color, grid andallowed typography in space early for illustration while maintaining division and the original 1930s those days paperbacks is what gotthe Penguin committed to design from colour coding so strongly associated with Penguin <http://designmuseum.org/ the start. design/penguin-books.htm> (accessed February 2010). Jan Tschichold In the years following World War Two,14th German typographer was chosen by Allen Lane to redesign the Penguin books.

6

british design classics penguin classics

“Much did Penguin know that, over the course of the next three years,Tschichold would set the standard for successful book design in Britain.”

In 2004, By the early Penguin 1960s, published Penguinthe hadGreat lost its Ideas edge. series Which of social, led thepolitical appointment and of the Italian art director philosophical tracts inGermano paperback.

Facetti.

Penguin’s One of arthis director most inspiring Jim Stoddart works asked was the junior designer, redesign of Penguin David Crime.

Pearson, Facetti to develop commissioned the design the identity designerofRomek the series Marber, which to redesign he didthe byseries dressing .Green eachwas cover retained in theas lettering the defior ning typographic colour of style Penguin typical of its time Crime, but in Marber a rigorous refreshed palette it by of choosing black and aburgundy brighter shade. type onThe creamy horizontal white.title band If a at conclusion the top stayed can be too, drawn as did onthe thehierarchy nature of of changes information in typography – logo, series and and cover then price, design title, in Penguin’s followed byhistory. the author’s it would name refer– to with therules context dividing of paperback each band. market requirements...the Marber then added a visually trend compelling of cover design image, and oftenthe andecisions illustration made hinting in art at direction the dramawill andbetensions partly inofresponse the plot. to the changing range of available styles of design The redesign and illustration, was so successful but will increasingly that Facetti take adopted into account variations theof requirements it for of publishing other Penguinwith series. the For filmPenguin and computer Classics, media. he introduced Underlyingthe such usedevelopments, of historic none the less, paintings, invariably is the debate reflecting about the the themes quality of the of the book, interior to the and covers. exterior Facetti design had of the books. succeeded in The establishing debate will consistently continue tohigh raise standards questions ofconcerning inspiring and principles often of typographic provocative design design in aand systematic the appropriateness manner appropriate of form, to asaitmodern has done publisher over theof last fifty yearsbooks mass-market of Penguin in the Books 1960s. (Aynsley Jeremy, 1985, 45-46). british design classics penguin classics 7

Harry Beck’s Beck’s Underground map in my tube opinion map is considered was a catalyst oneofofmaking London’s the system design seem modern, icons and it almost quick, never efficient made and it out most of hisimportantly notebook. The easier designer, to navigate, Harry raisingan Beck, the engineering profile of the draftsman tube came andwith up attracting the idea much of laying needed outnew the underground rail routes as he would passengers. aThe circuit London board.

Transport roundel isAtone theof time, the most the maps familiar of the and enduringshowed network corporate individual logos. The lines red and by run blue different roundelrailway logo was companies. designed towas It simply geographically make the station correct, names but more visibletoand impossible read over as the timelines has becomeall snaked theover symbol the place. of the city. The first fi The logo rst map, known made as the in 1908, “Bullseye” denied or “Target” the fact thatconsisting different operators of a solidwere circle crossed competing withby each a bar other and and wascould lateragree not redesigned where the in 1913 Underground along with the fontLooking ended.

by Edward at the Johnston. old mapBy of the railways 70ís the roundel it occurred logotowas Beck being that used it might on be all possible London buses, to tidy hence it up by the transition lines, straightening from Underground experimenting to London with diagonals Transport andwritten evening across out the the blue bar. Nowadays distances between stations. the roundel Beck logo is used and realised is was associated not necessary with every to meansrelative show of transport distance in London, betweeneven boats.Transport stations but more forimportantly London’s roundel see logo and where thetube linesmap connected diagramand arein considered what order the to be stations one ofwere the in.

LONDON UNDERGROUND TUBE MAP

“Mind the gap”

most For us classic this would piecesseem of graphic to be a design produced. common sense idea, These yet designs at the time are nowwere people usedshocked on so many to see products, that he fromcreated had wallets atomap underwear that ignored and the has become rules of geography. symbolic of London’s tourism His idea industry. was rejected The and London tube maps revolutionary considering ridiculous and yet basic navigational too revolutionary design forconcept people to has barely been changed understand.

Beck went from back itswith original a design and revised copy been andused finally and they adopted agreed fordo to other a small network trial maps of 500around copies the world. Instantly putting them in central recognisable London by any Londoner,The stations. almost mapsany proved Briton toand be a many people success and had throughout gone within the world an it has More hour. become than aa major million pop were culture in circulation within six months of symbol. being commissioned.

8

british design classics london underground tube map

british design classics london underground tube mapâ&#x20AC;&#x192; 9

RED TELEPHONE BOX

“A utilitarian piece of street furniture”

It was decided the post offi thesight kiosks so of that they wouldit The British Redby Telephone Boxceistoa paint familiar onred many our streets; beaeasily recognisable in case of emergencies, also presumably to that is very iconic image for residents and touristsbut alike, being so popular increase their in general The K2 isas impressive and imposing it was named the topvisibility. ten by the public one of Britain’s favouriteweighing design over an imperial had are a domed a design in many icons since 1900.ton.

NotItonly these roof: kiosks used onthat UKcontinued streets, they are used later kiosks.

It wasbyinspired by the mausoleum by of thethem great neo-been around the world businesses and collectorsdesigned alike, many have classical architect John Soane.

The Post Office asked Scott to use cast iron, converted in imaginative new ways. not mild steel as box he had and insisted that kiosk be painted The telephone hassuggested, become a symbolic piece ofthe street architecture, bright red visibility, rather than When the first whether it for is on urban highways or his outchosen in rural silver. villages.

Towards thekiosks end of the were installed people were by the in garish colour.

This lead to only twentieth century many hadoutraged been replaced the UK by modern glass kiosks.

1500 kiosks being produced and was in favour of otherthem Most of those left were preserved andlater werediscontinued given listed status protecting designs.

Very similaror todestroyed. the K2 was the K6, which was introduced in 1936 to from being removed celebrate the Silver Jubilee.

10

british design classics red telephone box

The were first design was introduced 1924, andacross by 1968Britain. the Post Offi ce had There some 60,000 examplesin introduced The ‘Jubilee introduced itsiteighth designdidn’t for a repeat National Telephone Kiosk. of The oldest Kiosk’ as the was known any of the mistakes the earlier telephone is located at Burlington House; home the Royal of Kiosks. Sirbox Giles Gilbert Scott was commissioned byto the Post OffiAcademy ce to Arts in London, just inside thewas porte-cochere entrance a productiondesign the new kiosk.

The K6 similar to his designstands of the K2, but was version of a had K2. The mostdetailing. recognisable red telephone are the Kiosk smaller and simpler The design was stillboxes unmistakably a Gilbert No 2 and No 6The as their designsthe aremost verypopular similar. and The most dissatisfaction of the Scott design.

K6 became recognisable of all K1 to the K2 design originating from likely a PosttoOffi ceacompetition in 1924, the lead K-Kiosk designs.

Today you are most see K6 on the streets requiring designers, onefiof which wasand Sir the Giles Gilbert Scott, tolater come of Londonthree but the K2 was the nest design start of what was up with plans for a new universal kiosk for use across UK. Sir to come, the design of the K2 wasstanding a masterpiece.

The kiosk is a the classicalGiles Gilbert Scott for created the winning was The introduced the influenced design a utilitarian piece design, of streetwhich furniture.

K2 is a onto beautiful streets of London in 1926. Scott’s most famousthe work is of London’s design and an architectural triumph.

Arguably, K2 represents the iconic finest Battersea Power Station kiosk and Liverpool’s Cathedral. design of any telephone introducedAnglican anywhere in the world. british design classics red telephone box 11

Park was designed by WhenHill Park Hill was designed it was architects, andconcrete Jack Lyn a very new Ivor thingSmith to leave for eld Council. was fullySheffi exposed, but thisWhen is theitmain completed in 1961 it offered characteristic that has giventhe the world a bold solution to the buildings its new instantly recognizable post housing shortage.

The bold war classic design.

The concrete unique were theofraised frames features dictated the size the flats walkways the flthis ats were within the between outer casing, was designed to replicate street lifeteam on the main are the conservation ground They wanted social wanted level. to start with.

English Heritage diversity; this was accomplished has worked closely with building by having different flat sizes, which developers Urban Splash to ensure gave chance fordesign people with different no areas of the family sizes and incomes to share the are overlooked. same This would They‘street.’ have removed the encourage inner flats a community grow mix and bond, and all the oldtomaterial and replaced what the with designers considered as an the flats new material but as ‘Active community.’ stated before the outer concrete An emotional some surrounding hasresponse remainedtotrue to its architecture original form.is the intended outcome.

However, to respond toto this building The challenge faced is bring in sameup manner divide thethe design to datewould with modern opinions straight downabout the middle. day life but also think what One has to look at this building the original design did for the in the long term, it as served as a home community, it enabled thousands for thousands ofin people since thea of people to live harmony and sixties.

This HAS to be a positive variety of local business to operate. design.

To argue its negativity a This is the main reason why in is my shallow response and easy dispute. opinion this is a piece of classic The government British design. listed the building with a architects grade 2 stars rating The have gonewhich so farput as the building the top six percent to look at theinsociological impactsof historical buildings country. the dwelling has on in thethe community is true recognition of its role it’sThis placed within.

The building as an international for housing allowed families to model live within a safe design.

At the timeenabled of its development community which kids to Britain wayoutside in this of area play onled thethe areas theofflats design, travelled from the in which inpeople many of other examples world over to see this development. working class estates have become English is colors taking used a modern no mansHeritage land. The in the constructive paneling gaveviewpoint a distinctwhen feeling of preserving thismost building.

They have identity which council estates allowed less important features lacked, giving this sense of pride to such aswas the acolored paneling to be people really liberating design removed. setting rules to feature forBut thealso residents. disallow the removal of vital features in its design such as the concrete framework.

12

british design classics park hill estate

PARK HILL ESTATE

“streets in the sky”

british design classics park hill estate 13

MONOPOLY

To make his game different from thedown folk versions Darrow's rst design Monopoly, a design classic passed from generation tofigeneration. for the Monopoly board circular, but insince other1935 respects classic visual 480 million players fromwas around the globe can’t the be wrong! signature was already there inpopular the dividing lines, the coloured bars identifying Monopoly is the world’s most game! the various on properties.

He soon replaced the ineffi cient circular designset with a Focusing the London edition, the design of the classic Monopoly square andchanged began selling sets friends very little. has hardly since handmade it was made by to Charles B.for Darrow in 1933 and When a department store placed orders for1935. thousands of Monopoly sets, developed further by Parker Brothers Inc. in Most will say it’s one of the Darrow approached Parkerout Brothers, a well-established company, most iconic board games there, therefore, a must asgames a Design Classic.to asklongevity if they were interested producing and marketing the game Its is unusual for in a commercial product.

The layout andnationally. look of the Parker and Brothers were and in the of the Greatare Depression andexactly lookingas out board, the green reddoldrums houses and hotels, more or less for new products, had too cards many 'design errors', they were in 1933. but TheDarrow's currencygame and property are virtually unchanged (52 to Darrow's be exact) originals to complywere withrevised the company's since in 1935. selection criteria for family games, they rejected it. In short, they found Monopoly pointless, too long, As its so popularity has grown, thousands of localised versions and special and too complex. editions of Monopoly have been produced, but they are all based on the 14

british design classics monopoly

“ The longest game of Monopoly ever to be played was 1,680 hours.” unmistakable But they changed styletheir of the minds classic when set,they which could despite see the its obvious age doessuccess not seem ofto Darrow’s date.

So-called product 'vintage' in prestigious sets of Monopoly city shops. are available in abundance on eBay and Monopoly some 'Special isn’t for Editions' everyone, promoted many hate

by Parker it! Whether Brothers it’s due (andtomore themrecently, being sore losers Hasbro) claim or to they replicate just find the it boring 1935 design, because butitapart is repetitive, from thedespite housesits and overwhelming hotels now being success! in plastic At present, instead of it is wood, the best all the selling designs board aregame fundamentally in the world, the same. now sold in 103 countries and produced in 37 languages.

The Charles longest Darrow game designed of Monopoly Monopoly ever to rather be played thanwas invented 1,680 it. hours, His which is 70 days straight! of interpretation The anlargest earlier outdoor game (The game Landlords was 938Game, feet wide created by 765 by feet Elizabeth long.

J. Today, Magie) Monopoly and changing is taking it intoover a layout the world. and design Not only thatcan no-one you enjoy has since the likes been of thetoclassic able improve board was game his master-stroke. with friends and Thefamily, Monopoly you board can play is beautifully by yourself, online, on elegant in its games stylised, consoles, functional and just simplicity. recently, The oncartoon-like your iPhone! illustrations for Love itParking", "Free or hate it,"Go theto game Jail",Monopoly "Electric is Company", here to stay! and "Water Works" are as fresh and expressive today as when they were first drawn. british design classics monopoly 15

This shows What is flat, that 35x 37 themm stamp anditself has is been used such a valuable to convey tool and our why history, Royal mail receive culture and society? so manyThe ideas Royal for new Mail’s collections special edition each stamps, year. of course.

Gone The are design the days process where for only a new an adcollection hesive monarch is a lengthy could one. authorise Hundreds the of ideas are delivery of aput letter. forward Britain forhas each seen years various everything from collections. the Olympic Of games those 12 Coldplay to a shortlisted appear andon when the face one of is its finally chosen, postage stamps.

3 different In fact, Great designers Britain or the is artists oneare place commissioned in the world to where produce you don’tideas havefor to include the stamps, yourof counwhichname try’s one may on a be stamp. chosen.

It is Royal this lack mail of restriction often favour which ideas hasinvolving encouraged big anniversaries creativity and leadsuch to Royal as 90Mail’s years of the RAF, Special edition depict stamps historical becoming eventsa such asclassic. design D-day and recognise artists such Originally as Bridget Royal Riley.

MailAs commiswell as this, thetheir sioned special Special edition Stamp stamps collection still commemorate for only very exceptional Royal occasions events or such as regal occasions. the marriage But why of the limit prince a good of Wales and thing?

So in Princess 1964 it was Diana decided which to was producedthem produce in 1981 more often. Since that The content fateful decision of the westamp have seen oftenan dictates mix eclectic the style of artists, in which photography it is produced. and illustrations Royal grace mail will thematch top right the content corner of our ofenvelopes. the design with the appropriate Stamps are artist not designed or designer, for stamp dependingor collectors onsolely their specialty. for postage; For example they haveinbeen 1989designed they produced to attract a games and people’s interest. toys collection, In a time when which was done in from competition a cartoon the electronic style, using world bright is fierce, colours it is likely and bold that the black special stamps can offer an appeal to those outlines. members Royal mail’s of thespecial public edition who have stamps are an example forgotten what aofletter constantly is. Theevolving special design portraying editions work like an current advertisement trends andRoyal for events Mail. whilst Onecommemorating of their recent the ones wefeaturing collections had forgotten. designThey classics are arguably as prompted debate valuable in the to media the design to what world is considered as bookaand good album design, covers. creating Goodpublicity free things come for the incollection small packages, and theinRoyal or this case, Mail. stuck to the top right Mail. corner of a small package.

16

british design classics royal mail stamps

ROYAL MAIL STAMPS

“Good things come in small packages, or in this case, stuck to the top right corner of a small package”

british design classics royal mail stamps 17

CADBURY’S CHOCOLATE

“Purple is a pretty damn good colour to own”

People relate this purple to Cadbury automatically, andTheir it’s the first The British spend aroundcolour £4 billion every year on Chocolate. choice feature hits you, by the logo. of whichthat chocolate tofollowed buy comes down to taste, but also the appeal of the Cadbury lodged application with the UK new Patent Office to trademark the packaging, and thean way it is advertised.

With products continuously specific purple shade Pantonefor 2685C, which shows howattention, strongly they launching, and the competing the chocolate buyers’ evenbelieve older, this gives them a certain and how dominating factor fresh.’ is in established brands need identity to keep their design updated the andcolour their appeal regards to their design for packaging and advertising.

Cadbury are fiercely ‘The purple colour, Cadbury’s “signature” lettering, and the “glass and protective its the ‘Cadbury Purple’, or Pantone it isare known at the a half” logoofare three visual clues that tell 2685C peopleas they looking at a Patent Offi ce. In theproduct.’ year 2009All when Darrell a New during South Wales firm, Cadbury chocolate three were Lea, developed the early years used shade of purple its packaging and signs Cadbury claimed of thea20th century – butinthey weren’t always there.which The distinctive purple had a ‘striking and with obvious’ resemblance own colour. colour first arrived Cadbury Milk Trayto inits 1915.

Cadbury’s famous script wasinbased the signature of William A. The company adopted thelogo colour 1905, on thinking that its regal associations Cadbury.

It was usedthat on eating he transport fleet in was 1921,a before being used would send out primarily the message its chocolate rich and on sales catalouges indulgent experience.and seal designs.

18

british design classics cadbury’s chocolate

It was The ‘Cadbury not until 1952 purple’ thatisitseen ws used as a across signature major purple. brands.

Purple It has is the become colour of simpler Ever royalty. over since the years, the days fitting ofin Rome with when regular only changes the emperor in modern wastrends. allowed to Up until wear a purple now, the toga, logo purple tended hastobeen be small associated on packaging with royalty. and came It wasinfelt many that different Dairy Milkcolours. was equally The Cadbury deserving ‘script of such logo’ recognition. is a design,The which dye is was seen once as a part of classic so expensive British thatdesigns, only the which monarch hascould managed afford toto last use through it. It was many a clever decades. commercial The ‘Cadbury move. purple’ In 1854, andthe thecompany Cadbury received logo are used its first globally, Royal Warrant and are well to known, cocoa supply both have and been chocolate around to the for many queen.years It still(with holds theRoyal help Warrants of tweaksto being made this day. to the logo to fit in with modern times, yet remaining classic).

Cadbury “The Cadbury is a brand purple that and is deeply its associations embedded with in the royalty British send psyche, messages and the about continuity the chocolate of the experience. logo and the It suggests use of the richness ‘Cadbury andpurple’ indulgence. definitely When helps youin are giving thethe targeting company everyday recognition premium and chocolate its unique market, identity. purple is a pretty damn good colour to own,” says Jez Frampton, chief executive of brand consultancy Interbrand. british design classics cadbury’s chocolate 19

The winning design belonged Originally issued in the 1986 to Bruce Rushin, an art teacher from in the UK to commemorate the Norfolk who based his design on a Thirteenth Commonwealth games, series of were concentric telling the £2 coins at thatcircles time, issued story, through symbolic devices, as commemorative pieces only, of technological from the featuring only development in a single colour Iron Age to the Industrial Revolution nickle-brass. and fromthis the theme Computer Age to Today is still continued the Internet. with the £2 coin as each year or so a Although the public’s input into its special occasion coin will be released design is one Mint, reason why the by The Royal however it coin was is unique, is the1997) Urban Myths not untilanother 1998 (dated that the that the coin coin has accumulated Bi-Coloured that we know and over today time. made its way into our love There has been rumours of in baggy trouser pockets.

It was people selling their comparatively 1998 when a review of the United rare Maklouf-effi gyshowed coins (these Kingdom coinage it required being queens a new where £2 cointhe design thathead washas easily a necklace) coins for other up to coinage £15. distinguishable from However, this is notthis, truethe – there in circulation.

With UK’sare over 13 million 1997-dated coins fi rst and only bi-metallic £2£2 coin was in circulation.

Another urban myth produced.

Allthough this is not a first about the coin is that putting it in the for Britain, having encountered the freezer overnight causes the cuproFarthing back in 1692, (which was nickel centre to pop out, arst claim also bi-metallic) it was afi for our which had been truewho of some earlyit modern generation received mintings ofunfamiliar the similarly bimetallic fi rstly with caution but Canadian 2 dollar coin, but if you then with love as we realized it was want toanything know forwe yourself you could unlike had clasped our alwayson give it a try! hands before.

The £2 coin a design Although theisfront of theclassic coin, that we encounter everyday and take designed

by Ian Rank – Broadley, for granted. designhead is unique to featuring theIts queens remains Britain and heritage the same oncelebrates each coin,our Special and identity a form different that all can Edition coinsinfeature understand andback, appreciate.

Each new designs on the each with their design issued should with be something own unique designer it. weThese should all enjoy and anticipate. coins in part, giving As of January were an recognition to 2009 manythere momentous estimated 331.5 million £2 coins in occasions in British Heritage circulation. such as the Rugby World Cup and Gunpowder Plot Anniversary to name a few there are now more than twelve different designs. Furthermore a competition has even given opportunity for the public to enter in their designs to feature.

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british design classics two pound coin

TWO POUND COIN

“Its design is unique to Britain and celebrates our heritage and identity ian a form that all can understand and appreciate...”

british design classics two pound coinâ&#x20AC;&#x192; 21

THE DALEK

Created Sydney Newman, airedofon BBC television in Howeverby none of which couldDoctor sustainWho the was samefirst impact originality that Doc1963, at which time TV was The black and juxtaposed white. It wasn’t 1964 when theofwriter tor Who had encapsulated. show with until today’s standards teleTerry the outmatched Daleks for the very first time on television, which visionNation could introduced be considered with regards to visual effects and CGI sent shivers downused the spines of good viewers.

It was in Sydney’s interest make that is profoundly to make quality shows and film.

But asto one critic the show educational in terms of“Movies time travel, and the future coming of the website IMDB comments, and history shows these days tend to relyto life in on a TV show effects and it allowed primarily to be inspired more special and lessthe onviewers, plot. ” He goes onchildren, to mention, “ I’d rather by things of this world. watch anot pepper pot with a plunger sticking out of it repeating “Exterminate!”

Thewatch Daleks andno unsettling to look at and and the thisextraordinary was enough to than Jarare Jarsteely “meesa likea yous” Binks fact that describe a hostile nature, for those arewas unfamiliar with their he’s completely CGI.” Onebut of the Dalekswho rivals ‘Alien’ when it hitcharacter, the cinthey without pity or They best are adamant on Universal emasare in May 25 1979.

It compassion. was rated seventh film in science fictionconquest and the and capturing their prime nemesis Time Lord or hysteria for thoseamongst who better creature that menaces a space shipthe created a lot of filmknow fans. him as the Doctor.

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british design classics the dalek

“We give tribute to the Daleks for blasting their way into the 21st century as part of the sci-fi spectacular of Doctor Who.” The monster Design ofisthe equal Dalek in height has nottogreatly a human altered however sincehas thethe first advantage built props of by claws, the mobility, and designer Bill Roberts, acidic blood, with and integrated consists features of two such eerilyas engineered the projectile mouths eye piece, (one projects gun stalkout andfrom ‘death inside ray’.the This other). primarily It wasshows effectively the strength a threatening of character design, that butthe as far as Daleks sustain, long time their viewers designofisDoctor as good Who today areas concerned, it was forty-seven the Dalekyears still inspires ago. fear, theirone Possibly legacy of the hasmost made terrifying its impression experiences strongofenough the Dalek in society is their merciless to make it an all time villain personality and high-pitched and not much computerised in cinema has voices. been They able to areestablish full of hate this. and when Afterone theisshow to screech, was cancelled “WE-WILL-EX-TER-MINATE”, due to production issues youin know 1989toit get wasthe heck successfully out of there (to brought rapidlyback make inyourself 2005 andscarce). since then There younger is without generations doubt that can these enjoy themachine mutated stories of creatures those that aretheir the ideal parents villains. watched as children. Now in 2010 Doctor Why were Who reveals the Daleks its eleventh such a hit?

Doctor The early (played production

by Matt Smith) of Doctor andWho with it a was staggeringahead incredibly 10 million of itsviewers time, itsintelevision the UK, isrivalry recognised consisted as one of shows of the Worlds such as longest-running ‘Lassie’, ‘Thunderbirds’, science ‘Top fiction of shows the Popofs’alland time.

‘Are you being served’. british design classics the dalek 23

Westwood then started become Vivienne Westwood hasto been recognized for her tailored queen of British fashion fordesigns just over such as thosenow in her Tweed to fi ve decades andHarry she refuses collection.

Westwood quit there. Having wonuses threemany ‘British ‘British inspirations in herof design themes Fashion Designer the year’ year ’ awards such as 1991, Peru, and the feminine figure, in 1990, 2006 Westwood velvet and knitwear.

Westwood quoted is going from strength to strength.

“I am never more happy then when I Responsible for bringing modern parody thenew British infashion the context punk and wave into of classical perspective.” the mainstream she truly is unique in As herWestwood designs. became more and more her wacky and quirky Theloved Punk for revolution took grip in designs sheWestwood received an OBE in 1992, 1971 when teamed with which was then advanced to McLaren a DBE in her second partner Malcolm 2006. Westwood is notorious for where he openedwho a store on 430 Kings going knicker-less a stir when Road, ‘Let Road, Road, ‘ ‘Let Let it Rock’ Rock Rock’. ’..caused There she sold she revealed her OBE some of her fiall rstcollecting fashion designs that and then confessing repeated this would change Britainshe forever. when DBE in 2006.

Westwood’s “Punkcollecting Style” andher Westwood Westwood’ ’s s Continuing her modern outrageous designs were popularity brought to Vivienne designs starred the publicWestwood eye when’sthe sex pistols in theclothes 2008 film ‘Sex the‘Let Cityit’. wore from theand shop The worn

by Carrie first gig.

Westwood Rockwedding Rock’ ’ at theirdress Bradshaw Parker) at wasn’t claimed “It(Sarah wasn wasn’ ’ttJessica that I purposely her wedding is designed Vivienne wanted to rebel, I wanted by to fi nd out Westwood.

Westwood giftsway the and dress why it had to be done one not to Bradshaw appearing in it in a another.”

Thisafter iconic style included wedding based(which photo is shoot in very BDSM fashion typically Vogue magazine. revealing fetishist black leather or As outfi well ts), as aBondage designergear, Westwood PVC safety has made name for herself in pins, razorablades, bicycle chains on recent years a political activist. clothing and as spiked dog collars for She launched an exclusive range of jewellery.

Essential design elements T-shirts baby wear bearing the were theand adoption of traditional slogan “I am not a terrorist, elements of Scottish design please such as don’t arrest tartan fabric.me.”

This is today a classic The fiDesign rst major retrospective of British style with the union her work shown in 2004-5 at the jack beingwas a key design element.

Victoria Museum, London and As theAlbert eighties approached the Nationalwas Artmaking Gallery aofname Australia Westwood for showingallus Westwood hasSome conquered herself over the world. of her the fashion world. Five decades of bizarre collections to follow included classic design given Savage (1981), has Hobo and Westwood Buffalo the prestige she carries today, as her (1982) and Pirate.

Westwood also collections continue to sell out. She became famous for her platform shoe has trulyas changed designs worn byBritish Naomifashion Campbell designshe andfamously where it fell stands today. when during a catwalk show.

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british design classics vivienne westwood

VIVIENNE WEST WOOD

“The rebel of fashion”

british design classics vivienne westwood 25

WALLACE AND GROMIT

2010 sees that another nomination animations Wallace and By seeing a lotOscar of character couldfor beAardman gained just by moving the head, Gromit,

by Nick Park. time of it is for the short film A Matter of Loaf ears andcreated eyebrows of the dog,This the idea Gromit speaking was dropped. and the fourth short filmdifferent created of the duo.

With a the recordbreaking 16.1 ThisDeath; then created a completely contrast between two characters, million viewers tuning to watch its debut on Christmas day 2008, the film which turned out to be in very effective. has already been hugewhen success.

The attection toadetail creating the characters and set is a hugely Wallace part and Gromit have gained great deal of publicity in the past important of the animation, anda something that all audiences can year admire as celebrated 20thas birthday, they featured on arespect googlefrom andthey appreciate.

It istheir a factor to why in thewhich animation gains such ‘doodle’ worldwide. the success publicity of Wallace andwords an adult shown audience as well asAs children.

Propsand such as a record with the Gromit to grow, it is interesting at how ‘Puppy continues love by Doggy Osmond’, as shownto inlook ‘A matter ofthe loafcharacters and death’have are evolved over thesubtle last twenty years, howcan therelate use of been so examples of the humour thatand adults toplasticine more thanhas children. infl uential this.

Also ,wheninyou consider the scale of the prop and the huge detail in the It is perhaps endearing qualities of the even characters Wallace and Gromit construction ofthe it, the appreciation becomes greater. that makes the animation so successful. bubbly However, Wallace and Gromit is not justWallace’s about theoptimistic content, itand could be said nature to work so effectively Gromit’sintellectual that theseems plasticine material itself canalongside create some of the humour. persona.

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british design classics wallace and gromit

“cracking animation gromit!”

The expressions gained from the making of the characters are unique due to One of the most interesting things about Gromit is that, although he does the material.

The fact that fewmore animation studios that specialise in not have a mouth, he is in there manyare ways expressive than Wallace or any plasticine modelling makes Aardman unique, andshort in a sense thisday is the other characters in the animation.

From the first ‘A Grand out’key to the to their success.

The foundersGromit’s of Aardman Animation, Peter and away David second ‘The wrong trousers’, character personifi es,Lord moving Sproxton, focused plasticine and clay animation mainly because nobodyas from his form as anon animal and communicating as easily with the audience elsehuman in Britain appeared to be working in the medium during the time they his counterpart. started the Park 1970’s.

Whenin Nick began developing the characters of Wallace and Gromit the success of Aardman’s rst CGI animation flushed away, which in With art school, the character Gromitfiwas originally sketched out as a in cat.

It they collaborated with Dreamworks, theofsustainability of clay/plasticine wasn’t until he thought of the storyline a character travelling to the moon animation bewent questioned. asearlier long as there areGromit animators that in a rocket,could that he back to However, change his sketches. changed want cat to work in as thisa media, therebeshould noeasier reason theout technique from to dog dog would larger be and to why model of clay. Park of usingthat plasticine should die out. Theofsuccess theclay beloved Wallace and claims “Some of the restrictions workingof with started to dictate Gromit animations amongstAnimations).One many other Aardman characters would question their characters’”(Cracking example of this was losing the why itof ever could. voice Gromit, as he had originally been recorded to speak. british design classics wallace and gromit 27

Lyle’s Golden Syrup Photography: Joe Harrison-Dunn Text: Simon Edwards Penguin Classics Photography: Richard Doubleday Text: Richard Doubleday London Underground Tube Map Photography: Transport For London Text: Rosheen Peiris Red Telephone Box Photography: Lloyd Verstage Text: Lloyd Verstage Park Hill Photography: Central Library, Sheffield Text: Joe Harrison Dunn

ACKNOWLEDGEMENTS

Monopoly Photography: Peter Vickers Text: Patrick Taylor Royal Mail Chris Masters/ Russel Hawkins Photography: Jason Tozer Cruciform (standard) © and Trade Marks of Royal Mail Group Ltd Reproduced by kind permission of Royal Mail Group Ltd All Rights Reserved Cadbury’s Chocolate Photography: Cadbury Global Media Text: Jigna Lathia

Vivienne Westwood Photography: Susan J Text: Lucy Crookston

Designers Joe Harrison-Dunn Meetal Joshi Sarah Burrows Jennifer Noon Lloyd Verstage Julia Roach Jigna Lathia Robyn Stoddart Rosheen Peiris Emma Andrews Simon Edwards Lucy Crookston

Wallace and Gromit Photography: Drew Leavy/ ‘Magthepig’ Text: Emma Andrews

Printed by Repico, Leicester.

Cyan Design 2010 © All Rights Reseved

Two Pound Coin Photography: Julia Roach Text: Julia Roach The Dalek Photography: Robyn Stoddart Text: Robyn Stoddart

28 british design classics acknowledgements

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