SANJANA NANODKAR
SPIT & SAW DUST Revealing The Lettering Trends In Traditional Pubs
SANJANA NANODKAR University of the Arts London 2012 London College Of Communication
‘SPIT & SAW DUST’ A term traditionally used for ‘bare’ pubs. In the past these pubs were essentially spaces meant for drinking and were not decorated and made comfortable or ‘cosy’ (the other type of pub). The name comes from the old ritual of scattering sawdust on the floor for the pub patrons to spit into.
CONTENTS
INTRODUCTION 06 The Pub 09 Lettering Tradition 19 Lettering and The Pub 29 THE PROJECT THE JOURNEY 33 Old Ivy House 38 The Documentation 47 The Categories 59 THE EXPERIMENTS 71 CONCLUSION 90 BIBLIOGRAPHY 92 APPENDICES 94 ACKNOWLEDGEMENTS 96
06
INTRODUCTION
Growing up in India, I have always been curious about and enthralled by the peculiar characteristics of various cultures. Here in the UK, I was exposed to an entirely new culture and it was extremely interesting to observe the many aspects that are indicative of the life of the people here. The culture of the country is replete with its ‘formal aspects’ like visual art, performing art, literature, etc. However, they all seemed much researched and conventional. Consequently my search turned towards that aspect of culture that was comparatively less researched, comparatively unconventional and comparatively an unvoiced feature of the English* culture, the ‘Traditional Pub’. The pub is a heritage of this country that has had a social, architectural, historical and cultural impact on the society. Thus I started observing the pubs and was inspired to read about their origin and growth. Through basic visual documentation and theoretical study I started analysing the peculiar characteristics of these ‘Pubs’. Most people have misgivings about analysing ‘Pubs’ as they tend to be generalized about rather than kept as individual entities. Every pub is indeed an individual entity and to generalize it is an exercise in contradiction. ‘Spit & Saw Dust’, is a project solely based on documentation and analysis of the ‘lettering styles’ in traditional pubs’ of some cities in the UK in order to understand the trends. It explores the existing styles of lettering and the balance or the imbalance between the traditional and the commercial and does not attempt to analyse the pub as a whole. Various lettering styles and their individual appeal have always interested me. Though the pubs signs have been studied in depth over the years and are the highlights of the visual language of pubs, the lettering used is often ignored. This project aims at revealing the unique style of lettering that was once a fine example of the English vernacular lettering tradition but is now a slave to commercialisation. It reflects my understanding of the pubs and the lettering aesthetics used in these establishments. The outcome of this project is a compilation that aims at providing the reader with an insight into the style of lettering used in the pubs today. The examples that have been collected from cities have been categorized and examined purely as visuals or illustrations. This book is a detailed account of the development of the project.
* The term ‘English’ in the entire book refers to the United Kingdom as a whole and is used purely for convenience.
“ Pubs differ no more than
people, who despite their vast diversity in form and face, in colour and character, in habits and healthiness, remain recognizable as members of the human race. But if the distinguishing characteristics of people or pubs are missing, the unhappy result is, in either case, a freak or a totally different ‘animal’.” Ben Davis | 1981
09
THE PUB
“ As much of the history of England has been brought about in public houses as in the House of Commons.”
Sir William Harcourt | 1872
13
THE PUB
The writings of Samuel Pepys describe the pub as ‘The Heart Of England’.3 It has its origins in the foothills of time. ‘Inns’ began to make their first appearance in England in the 12th century and by the 13th century there was evidence of the spread of ale retailing across the kingdom. Soon in the 15th century, numerous drinking houses started mushrooming and acquired the features one generally associates with the fully-fledged ‘alehouse’. In the 19th century, the term alehouse had largely been replaced in common usage by ‘Public house’ and within a few decades the ‘PUB’ had arrived. Pubs as we know them today are in the direct line of descent from two distinct ancestors- the inn and the tavern. The way they have evolved, and the ways in which they are still used, represent a tradition unbroken since the days of the Roman occupation. There has been a definite change and the process of change has been a continuous one. The two separate lines of development merged in the 19th century to become the pub partaking off the recognisable characteristics of both the inn and the tavern. What are ‘Taverns or Alehouses’ and ‘Inns’? The inhabitants of England have over the centuries preferred a drink and a good cheer in company to a private topping within the home. From Roman times this is the function, taverns have performed. They called them either ‘tabernae’ or ‘bibulia’, these words seem appropriate when applied to places where the bibulous enjoyed their boozing! Taverns were places of business where people would gather to drink alcoholic beverages, be served food and were referred to as Alehouses. An inn was essentially a tavern that had a license to put up guests as lodgers. The word ‘inn’ originally meant ‘a chamber’, or a set of chambers but there are said to be four definitions in law that agree that an inn is a place for wayfaring men seeking lodging and usually food and drink. Inns have always been for the entertainment of people who travel from place to place, rather than for local residents. They were typically located in the country or along a highway. The first records of Inns can be traced back to the Romans beside the roads that they had first constructed. When they left Britain, there was a decline in travelling, but the inns survived over the years.
14
The pubs, for the common man, were centres for social and cultural exchange. All of the public meetings, from birthday celebrations to funeral services, were once held in these ‘local pubs’. The ‘hosts’ or owners of the public houses would serve everyone with pride and personal care. Singing, dancing, games and gossip were all a part of this culture. The local brews- beers, ales, bitters, ciders, porters, etc. as well as the food served here contributed to the tradition. There were ‘cosy pubs’ and ‘bare pubs’. The bare ones were not distracted with décor and focused on talking and drinking while the cosy ones were more comfortable and appealing. The Fame. The pubs have been linked to many famous and infamous people, places and incidents throughout history and have been witness to many religious, political, social and literary events over time. From Shakespeare to Dickens, Tennyson to Doyle and many such personalities have an association with pubs all over the country and are either named after them or have a proud display of their belongings and works. Whenever England has presented itself to the world at large, the image usually included a pub. Since the English film classics like the 1940’s, ‘Mrs Miniver’ and ‘A Tale of Two Cities’, to the more recent television series ‘The Eastenders’, 1985-2012, many film, theatre or television stories have been set in english pubs to showcase the ‘Englishness’. This setting has in the past inspired many plays and poems and many legendary artists have conceived ideas within the walls of these institutions.
“ ‌Many of these have a
connection with the Church, some have fascinating associations with infamous figures from many walks of lifethe artists and men of letters, highwaymen and smugglers, cranks and criminals, some of them notable, others notorious, all of them interesting.� Anonymous
17
Collected examples of the boards that mention the connections with famous and in famous personalities.
19
LETTERING TRADITION
“ The English forms grew out of particular English preferences which can be seen even in many early primitive forms; and it seems that, left to themselves, the British tend to revert to these preferences even today.’”
Alan Bartram | 1986
21
LETTERING TRADITION
The first of the English letter forms was initiated long before a general awareness of the Roman model; and while its remote ancestry has to include aspects of Italian Renaissance ideals, there is no conscious or direct influence of either of these, only a background of an impossible-to- ignore chain of type development from Manutius to Caslon. The standard of lettering in the UK is rather high and despite being deflected by trends like the ‘Art nouveau’ movement and the advent of ‘Trajan Roman’, this country still has deep-rooted affection for the tradition of fine letterforms in vernacular use. The term ‘vernacular lettering’ is not easy to define. The word ‘vernacular’ means native, national or specific to a particular group and ‘lettering’ is the process of inscribing symbols or characters for communication. So, generally it can be defined as a unique style of inscribing letterforms by a specific group of people. A recognizable English vernacular tradition popularly began in the first quarter of the eighteenth century. But earlier lettering has features possibly unique to and apparently characteristic of these islands. Vernacular lettering by its very nature is likely to be ephemeral and much more must have been done than what has survived. Throughout the history of lettering, form intimately relates to technique. The design of type was not only the result of the wishes of time, but was also governed by what was producible and printable at that time. Sometimes techniques were developed to enable the desired forms to be properly printed; sometimes the form was designed to suit the existing techniques. The two advanced together. And in vernacular lettering, whether a form is drawn, engraved, carved, with what material it is carved in; what techniques are available or affordable; social preferences, prejudices, demands, usage and function, all these affect the form and work against any attempt to provide a simple pattern of development. The playfulness and invention in the shaping of certain letters are indicative of a willingness, or desire, to experiment with the forms. While sometimes hazardous, this adventurous attitude can result in new forms and can ensure that the tradition avoids death through sterility and stagnation. At its worst it becomes a whimsy, but at its best it is an exuberance, an expression of pleasure and an interest by the craftsmen in his craft. Such for example, were the decorative flourishes, often extending the end of letters; a favorite device of the early letterers, influenced perhaps by the writing masters of the late seventeenth century. The English lettering tradition grew alongside the English people period by period. Each style was a reflection of its background; each form was slowly developed to meet new needs, although sometimes a style would be stolen for quite different usages from those for which it was originally intended. Each new style was an addition to the tradition; it never supplanted an old style. And in our way we still use these styles, adapting them to our needs and tastes.
23
EXAMPLES
Examples of ‘Lettering Tradition’ on shop fronts in London. Collected from Borough High Street, Portobello Road and Notting Hill Station.
Before the advent of affordable print medias or the flexible vinyl, vernacular lettering was personal, informal yet skilled and appealingly honest. The ‘Hand Crafted Letter’ was unique and reflected the characteristics of the untrained hand working over years gathering experience. With no uniformity of computer design these were individual pieces of art created by artists with personal and regional variations in style and techniques. Anonymous sign writers often created letterforms spontaneously. Without much help from type books or trade magazines, they constructed highly original letterforms using a variety of materials.
Examples of ‘Lettering Tradition’ engraved on stone/wall in London and Winchester.
The tradition and cultural background of the draftsmen affected their use of type and the styles of rendering. The shadows, the serifs, the bevels, the overlapping, the highlights, the rhythm, the flow and the placement of letters all of these together added to the presentation of the sign. The factors that mainly affected the visual outcome were the tools used, the surface and the intention. The artist could decide to use these to his advantage or he could paint the sign regardless of the effects. The crude and unfinished look of the sign added to the eniter visual experience. Virginia Postrel in her article, ‘The Substance of Style’, says, ‘although we often equate aesthetics with beauty, that definition is too limited. Contrary to some assertions, we have not gone from a world in which everything must be smooth to one in which everything must be rough, from an age of only straight edges to an age of only curves, or from industrialism to primitivism. All these styles coexist, sharing equal social status.’
29
LETTERING AND THE PUB
30
LETTERING AND THE PUB
The vernacular tradition has not been influenced by type design over the years. Indeed the influence has often been very much the other way round. The tradesman derives his design from the tradition in which he has been taught, forms that have already been used in similar situations and may contribute personal mannerisms; whereas the designer is concerned with solving an often self-inflicted intellectual problem, and creates personal and possibly original interpretations, and is liable to draw inspiration from a wide variety of sourcesoften from areas quite outside that for which he has to design. Variations within the vernacular tradition are often the result not only of conscious modification, but also of ineptitude that creates its own charm. The designer’s approach may result in some kind of pastiche, or semi-pastiche, but the trade letterer’s creations are almost never this. If a tradition is alive, it is axiomatic that the past examples of the tradition are not merely copied, but developed. Thus the lettering created in the late twentieth century by tradesmen working in the vernacular tradition is rarely like the classic examples created in the Victorian era, but designers might recreate them almost exactly. Since the introduction of names in the pub signs (initially there were only symbols as most people could not read or write) pubs across the UK have been notable examples of the English lettering traditions and have reflected the change in styles and influence of various periods on lettering. The overall lettering styles were similar but there were distinct attributes and characteristics in the formation and execution of lettering that made them unique. Each pub had a visual language that suited its past, was a reflection of the times and trends or simply expressed the nature of the owner. Around the 1980’s many of the traditional pubs were redecorated to suit the changing times but the designers carefully infused the substance of old vernacular lettering into the letterforms. This meant that the culture of pubs remained intact visually, but new attributes were added to suit the altering tastes.
“ A good example is the
redecoration of many pubs in the early 1980’s, which resembled a kind of living museum of Victorian lettering (the result perhaps of some campaign for real lettering, companion to the campaign for real ale) ” Alan Bartram | 1986
33
THE PROJECT THE JOURNEY
35
Wandering the streets of London and Winchester in my early days in the UK, I often overheard people of all ages and backgrounds talking about going to a ‘Pub’ with family, friends, colleagues and clients or sometimes alone. The more I explored these cities the more I saw of these establishments, and I was fascinated to see their significance in the lives of people. I started documenting and reading about pubs out of curiosity and this later became the subject for my project. The research undertaken subsequently was more of a formal approach towards a subject that intrigued me as soon as I was introduced to it. This interest was guided by my inclination towards letterforms and the use of the vernacular styles and formed the basis of my research methodology. Initially the research was oriented towards the study and understanding of the social and cultural aspect of the pubs. I was experiencing this culture for the first time and felt the need to look deeper into its history and growth over a period of time. With some research I realized that this subject has been the muse of many historians in the past and many English authors have written fondly about this aspect of their culture. Peter Clark’s account of the pubs in his book, ‘The English Alehouse’, suggests that these institutions developed from rather rudimentary beginnings, with ale selling being a casual affair to the “fully fledged” social institutions in the sixteenth century. Michael Jackson, another English author and a journalist has summed up the pub culture as ‘a unique social phenomenon’ and describes it profoundly in relation to culture, society, trade and the visual language in his book, ’The English Pub’. In 1946, George Orwell, perhaps the 20th century’s best chronicler of English culture wrote an essay describing the ideal pub, which he named ‘The Moon Under Water’, and the qualities that made it special, many of which remain recognisable to modern readers. ‘The architecture was uncompromisingly Victorian, infused with the “comfortable ugliness” of the 19th century. It was busy, but not noisy, with a merry atmosphere but not a drunken one. There was a fireplace for the winter and a beer garden for the summer; the barmaids were friendly and most of the clientele were regulars.’ ‘But, to be fair, I do know of a few pubs that almost come up to the Moon Under Water. I have mentioned above ten qualities that the perfect pub should have and I know one pub that has eight of them. Even there, however, there is no draught stout, and no china mugs.
37
THE OLD IVY HOUSE
38
EXPERIENCE
Along with the theoretical research of the past, I needed to experience the culture in traditional pubs in the cities today. Initially I visited many pubs with the intention of finding a ‘traditional’ one, something that suited Orwell’s description. My search soon ended at an old pub in north London, ‘The Old Ivy House’. It was exactly suitable the pub that Orwell’s described but it came fairly came close to the description. At ‘The Old Ivy House’ This pub is over 200 years old and is currently owned by the Shepherd Neame brewery. Built in a Victorian building, this pub today welcomes local old timers as well as young customers from the surrounding areas that are a mix of commercial spaces, art galleries and studios. It is a simple pub with plain walls, a horseshoe shaped bar in the centre and no elaborate decorations within. The ‘publican’ (manager) welcomed me and allowed me to observe the people and the pub over two days. He told me that the pub was originally a typical ‘spit and saw dust’ or a ‘bare’ pub. It was here that I saw and realized the true meaning of ‘pub culture’ and ‘the social phenomenon’. “This”, I was told by Joe, 82, a regular there, “is what they call a true local. There are not many left now. I have been around for many years and have seen many of the pubs being converted to bars. I had a local near my house but it went out of business, so I came here.” Gladys, 65, who recently retired explained, “The people are friendly here and the publican is welcoming. It’s a great place to have a drink and I look forward to coming here on the weekends with my sisters to enjoy the live music.”
39
The live music evening was an enjoyable experience indeed. A jazz singer, a pianist, pub regulars and beer on the tap, it was the perfect setting to experience the true public house. The mood was merry and the drinks were just an excuse to stay in the pub. “I own a pub down the road, it is more of a bar now. I prefer coming here when I have time, as I like the warm and simple atmosphere. It’s a good way to relax and enjoy a drink” Ramona, 45, a pub owner herself agreed that the trends are changing, but the traditional pub is always preferred. This experience was a practical ‘experiment’, undertaken to understand the depth of my subject. Reading about the pub was engaging, but experiencing it, reassured me of the true essence of my field of research.
40
“ Time stands still best
in moments that look suspiciously like ordinary life.� Brian Andreas
Pictures from the visits to the ‘Old Ivy House’, Clerkenwell, London. (Pages 41-45)
47
THE DOCUMENTATION
THE CITY OF LONDON
The practical documentation of the project had started long before I realized that this a subject that I could study formally. I had started shooting pictures of pubs casually. The first part of the practical research involved documenting the pubs in the ‘City of London’ area. This ‘Square Mile’ area (another term used for the City of London) is the oldest part of the city that was once surrounded by the Roman wall. It has been a prime location for trade even before Roman times and it is a connection for trading and international commerce even today. 19 Many old and historic pubs are located here that have developed with changing times and survived over the years. The main aim of these visits was to document and collect sufficient data so as to analyse the current trend of lettering in the pubs. I collected references from about 30 pubs, in the square mile area, and a few examples are shown in the following pages.
The pubs in this area had a contrasting visual language. While some were preserved in their original state, some were altered slightly to accommodate the new trends, while some were given complete makeovers to suit the modern times. This was most evident in the pub signs and boards. The lettering in some pubs were developed using the historic writing styles but there were some examples of commercialized printed and machine cut lettering as well and surprisingly this was all sometimes seen in one pub.
THE OLD BELL, City of London, London
THE PUNCH TAVERN, City of London, London
YE OLDE CHESHIRE CHEESE, City of London, London
THE TIPPERARY, City of London, London
YE OLDE COCK TAVERN, City of London, London
THE GLOBE, City of London, London
ST BRIDES TAVERN, City of London, London
THE RAILWAY TAVERN, City of London, London
54
THE COLLECTION
The practical documentation then moved to other areas of London and I collected examples of lettering from about 90 pubs in the city. There was no fixed rationale for the pubs to be visited. It was more of a free approach so as to avoid typical patterns in collection of data, the only basis being the search for ‘traditional’ pubs that have been in existence for many years. As I progressed further I realized that, to analyse the pubs in the city I needed to document pubs from some other cities as well. So I decided to cover cities that were often visited by tourists (cities which are targeted by breweries) and the ones that were accessible to me in the limited time.
55
The cities that I finalized, based on this reasoning were London, Winchester, Oxford and Cambridge. Few examples from the city of Edinburgh, Scotland and a few from other towns in the UK, were also included to give a wider comparison. The entire data included pictures and references of lettering from 128 pubs. This collection or more aptly, an image bank of all medias that used letterforms in pubs allowed me to categorize and analyze the trend of lettering in pubs today, – how some of the traditional lettering has been preserved and how some of them have been replaced by the new commercialized lettering. I categorize the data broadly based on the mediums that they appeared on.
59
CATEGORIES
60
1. THE PUB SIGN
The ‘pub signs’ were introduced after a law was passed to display a sign outside the places that brewed alcohol or the government would seize the produce, as it would be illegal. Over the years they have been studied for their visual impact in terms of the illustration and the styles used.
62
2. MARK OF THE BREWER
These are the main medias or spaces owned by the brewer. The taps at the bar proudly display the availability of the types of brews and they showcase the logos of the various brews. The introduction of beer mats and coasters in pubs, added to the space available for the brewers and beverage companies to promote their products. These are sometimes influenced by the current events or by the latest offers from the companies.
63
64
3. ANNOUNCEMENT BOARDS
These are a much-loved piece of lettering throughout the history of pubs. They are boards announcing the availability of ‘fine cask ales’, ‘traditional British food’, ‘wine by the bottle’, etc or merely the opening times of the pubs. They are a medium of advertising within the premises of the pub.
65
4. INFORMATIONS BOARDS
Within the pubs it is common to have information boards that have the names or give directions of the various sections in the pub like the ‘bars’, ‘dining areas’ and ‘restrooms’.
66
5. ART ON MIRRORS
The mirrors were used within pubs to reflect the light from a small source, so as to brighten up the interiors. As soon as they became a common feature in the pubs the breweries and beverage companies targeted them as promotional spaces.
67
6. ART ON GLASS
The pubs were originally designed to be closed spaces without any connection with the world outside. There were no windows and the space acted like a separate world where people could meet and drink without any interference. With time there was a need to make the pubs look appealing to the masses and so the windows appeared in the architecture.
69
7. PUB NAME BOARDS
These are displayed proudly on the front faรงade of the building. Most of these are designed regardless of the actual name of the pubs and are a significant examples of the English lettering traditions. They are either hand painted, hand crafted, engraved, use machine cut letters or prints.
54
71
EXPERIMENTS
72
THE PROJECT
The collection was vast and in order to analyse the lettering trends minutely, I needed to minimize my search to a specific category. After categorising the data the most commonly appearing text across the previously mentioned medias was ‘the name of the pub’. There were strong variations in the way the same name was expressed in different medias within the same pub. So, I decided to channelize my study towards extracting evidence of lettering that used the names of the 128 pubs that were recorded. The names appeared on name boards on the exterior facade, the announcement boards and on the information boards. Though these letterforms were visually different, they had a distinct common persona. The techniques used for lettering varied, from beautiful raw hand crafted forms to neat and finished machine generated ones. Some styles used were typical of a pub, while some showed growing use of technology and the influence of commercialisation. Step 1 I moved on to looking at single letters. In order to gain a clear understanding of the ‘letter’ as a ‘form’, I used the commonly occurring letters ‘A’ and ‘E’ from most pub names and studied their structures. Removing all their attributes of colour, shade and light, dimensions and texture, I converted them to black masses and divided them into basic categories based on type styles- Serif, Sans Serif, Decorative and Lower case. This helped me to gain a better understanding of the structure of the letter and urged me to study the effect of letterforms when used in words, so I continued the experiment with the word ‘The’ as it was the most commonly occurring word in the collection of names. Step 2 The study moved onto analysing the type styles used and the essence of studying the letters as visuals and as forms reduced due to the technical analysis. The focus was shifted yet again towards the illustration in the form of letters the collection of about 233 plates of pub names were divided into categories based on the methods of production and colour. These classifications were an integral part of the study were aimed at understanding the visual evidence of the lettering trends today.
75
STEP 1. a. The experiment with the letter ‘A’ was to highlight the structure and frequency of the letter used in the name of the pubs. The black and white contrast shows the variations in some of the forms and styles and the letters were then categorised on the basis of their type styles. Letters in each category were overlayed to study the frequency of use.
Sans Serif Serif
Slab Serif Decorative Lower case
77
STEP 1. a. The experiment with the letter ‘E’ was to highlight the structure and frequency of the letter used in the name of the pubs. The black and white contrast shows the variations in some of the forms and styles and the letters were then categorised on the basis of their type styles. Letters in each category were overlayed to study the frequency of use.
Sans Serif Serif
Slab Serif Decorative Lower case
78
79
STEP 1. b. The experiment with the word ‘THE’ was to highlight the structure and frequency of the word used in the name of the pubs. The black and white contrast shows the variations in some of the forms and styles and the words were then categorised on the basis of their styles. Words in each category were overlaid altering the opacity to study the frequency of use and the outer structures.
80
02
The classification of the plates on the basis of the material used: 01. Hand painted 02. Printed 03. Crafted 04. Cut Letters 01
04
03
82
The classification of the plates on the basis of colour.
84
Understandng the balance of colours in the collected pub boards.
85
A compilation of the name boards on the basis of the colour frequency
88
CONCLUSION
The more I looked at the lettering styles used on various medias in pubs; it became evident that many pubs in the cities are falling prey to commercialization. A large number of pubs have shut down due to many national and global setbacks in recent years. Big breweries own most of the ones that survive and the main aim of these companies is to increase profit as they face stiff competition from the growing number of bars, cafes, restaurants, etc. The breweries have influenced the overall design of the pubs and though most of the core structures remain, the spirit of the tradition has been diluted by bland corporate makeovers. The pub signs have become a promotional space for breweries and the pub name boards use common, easily available and cheap products to design lettering styles. Independent pub owners feel the need to use cheap alternatives too, due to the financial setback as well as the competition they have to face from the bigger breweries. The existing letterers still use their own designs that are developed from traditional models but the professional designers hired by the large signboard manufacturing companies copy specific styles and mass-produce them. The need for cheap, quantitative and quick designs has reduced the demand for the work of these trade letterers and has inversely increased the demand for commercial sign manufacturing. There is still some conscious effort by designers to use styles that are based on the traditional English vernacular letters, but in most cases the tradition does not survive the pressure of promotional rage. This has reduced the individuality of styles considerably and fails to demonstrate the unique characteristics of the pubs. The traditional pub, a social and cultural treasure of England, that was once a thriving example of the vernacular lettering tradition is yielding to modern trends and fast becoming a space for the promulgation of companies and brands. The need for computer generated or machine cut letters for mass production cannot be denied. It is accepted that this process cannot achieve the beauty and uniqueness of handcrafted letters, but the idea of loosing the tradition generates a need to preserve it. These unfinished, rough yet well-drafted letters are a heritage that should be preserved, as they are a testament to the years gone by. The tradition can be consciously carried forward with the infusion of modern techniques into the traditional styles. The companies and the designers should encourage the trade letterers and a designer could mould the necessities of the current times into a new trend that engulfs the old styles.
BIBLIOGRAPHY
Baeder, J. (1996) SIGN LANGUAGE: Street Signs as Folk Art. New York: Harry N Abrams Inc. Bartram, A. (1986) THE ENGLISH LETTERING TRADITION. London: Lund Humphries. Carter, R. et al. (1993) TYPOGRAPHIC DESIGN. 2nd ed. New York: John Wiley And Sons, Inc. Clark, P. (1983) THE ENGLISH ALE HOUSE: A Social History 1200-1830. New York: Longman Inc. Crow, D. (2010) VISIBLE SIGNS. 2nd ed. Lausanne: AVA Publishing. Davis, B. (1981) THE TRADITIONAL ENGLISH PUB. London: Architectural Press. Fella, E. (2000) LETTERS ON AMERICA. New York: Princeton Architectural Press. Garfield, S. (2010) JUST MY TYPE. London: Profile Books. Gary, N. (1960) LETTERING ON BUILDINGS. London: Architectural Press. Gregor, M et al. (1984) A DAY IN THE LIFE OF LONDON. London: Cape. Heller, S. and Anderson, G. (2007) NEW VINTAGE TYPE. London: Thames And Hudson. Heller, S. and Anderson, G. (1994) TYPEPLAY. D端sseldorf: Nippan . Heller, S. and Fili, L. (1999) TYPOLOGY. San Francisco: Chronicle Books. Heller, S. and Ilic, M. (2012) STOP THINK GO, DO. Massachusetts: Rockport . Jackson, M. (1976) THE ENGLISH PUB. London: William Collins Sons & Co Ltd.
Larwod, J. and Hotten, J. (1951) ENGLISH INN SIGNS. London: Chatto & Windus. Lupton, E. (2004) THINKING WITH TYPE. New York: Princeton Architectural Press. Lupton, E. (1999) DESIGN WRITING RESEARCH. 2nd ed. London: Phaidon Press Limited. Munari, B. (2008) DESIGN AS ART. London: Penguin Books. Osborne, K. and Pipe, B. (2012) THE INTERNATIONAL BOOK OF BEER LABLES MATS & COASTERS. London: Hamlyn. Perry, M. (2007) HANDJOB: A Catalogue of Type. New York: Princeton Architectural Press. Richards, T. and Curl, J. (1973) CITY OF LONDON PUBS. Newton Abbot : David and Charles Limited. Samara, T. (2002) MAKING AND BREAKING THE GRID. Massachusetts: Rockport . Spiller, B. (1972) VICTORIAN PUBLIC HOUSES. Newton Abbot : David and Charles Limited. Waters, C. (2005) A DICTIONARY: Of Pub, Inn And Tavern Signs. Newbury: Countryside Books. Wotzkow, H. (1967) THE ART OF HAND LETTERING. 2nd ed. New York: Dover Publication. Unknown. (n.d.) PUBS AND PUB SIGNS . London: Colourmaster Publication. Unknown. (1969) VICTORIAN AND EDWARDIAN LONDON. London: Batsford.
92
APPENDICES THE LIST OF PUBS DOCUMENTED TOTAL PUBS : 128
COUNTRY | CITY | No. of Pubs ENGLAND | CAMBRIDGE | 4 1. 2. 3. 4.
The Bath House The Castle_Cambridge The Eagle The Fountain
ENGLAND | GUILDFORD | 1 1.
The Star Inn
ENGLAND | LONDON | 90 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.
Bag ‘O’ Nails Black friars Camel & Artichoke Captain Kidd Cat & Mutton Crown & Anchor_London Crown And Sugar Loaf Dirty Dicks Duke Of York East India Arms Founders Arms Halfway 2 Heaven Hoop & Grapes Hoop & Toy Kings Arms Lord Aberconway Lord Raglan Lord’s Tavern Lyceum Tavern Marquis Of Westminster Morpeth Arms Old King’s Head Old Thameside Inn Penderels Oak Pimlico Beer Garden Prince Albert Prince Of Wales Pub On The Park Punch Tavern Queen’s Head Silver Cross St Brides Tavern St Stephens Tavern The Albert The Albion_London The Anchor The Bell The Blue Eyed Maid
39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90.
The Bull The Castle_London The Centre Page The Chandos The Chequers _ London The Clarence The Coach And Horses The Crown & Cushion The Dickens Inn The Duke of Wellington The George The Globe The Gloucester Arms The Golden Heart The Gun The Harp The Havelock Arms The Hope The Iron Duke The Jugged Hare The Mudlark The Old Bell The Old George The Old Ivy House The Old Shades The Old Swan The Plough The Porcupine The Queen’s Arms_Victoria The Queen’s Arms_Kensington The Railway Tavern The Red Lion_Westminster The Red Lion_Southall The Seven Stars The Shakespeare The Smithfield Tavern The Sun In Splendour The Surprise At Pimlico The Sutton Arms The Tipperary The Warwick The Wellington_Waterloo_North The Wellington_Waterloo_South The White Hart_Liverpool Street The White Hart_Waterloo The White Swan The Willow Walk Woodin’s Shades Ye Olde Black Bull Ye Olde Cheshire Cheese Ye Olde Cock Tavern Ye Olde London
93
ENGLAND | OVINGTON | 1 1.
The Bush Inn
ENGLAND | OXFORD | 13 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.
St Aldates Tavern The Bell And Compass The Chequers_Oxford The Crown The Duke’s Cut The Four Candles The Grapes The Head Of The River The Kings Arms The Mitre The Old Tom The Red Lion_Oxford The Royal Blenheim
ENGLAND | WINCHESTER | 8 1. 2. 3. 4. 5. 6. 7. 8.
Crown & Anchor_Winchester The Albion_Winchester The Eclipse Inn The Exchange The Green Man The Old Gaolhouse The Queen Inn The Wykeham Arms
SCOTLAND | EDINBURGH | 9 1. 2. 3. 4. 5. 6. 7. 8. 9.
Deacon Brodie’s Tavern Ensign Ewart Milnes Of Rose Street The Advocate The Conan Doyle The Doric Tavern The Jolly Judge The Tron Verge Inn_Royal Yacht Britannia
SCOTLAND | PITLOCHRY | 1 1. The Auld Smiddy Inn SCOTLAND | FORT AUGUSTUS | 1 1.
The Bothy
ACKNOWLEDGEMENT This book would not have been possible without the encouragement and guidance from Susannah Rees and Tony Credland. I am grateful to Beena, Chris, Niteen and Alison for all their help and for introducing me to the English culture. Thank you Deshna, Manosij, Sara and Solly for your support, motivation and critique. Finally, a big thank you to my parents for believing in me and giving me this opportunity and to Siddhant and Akash for being there and lifting up my spirits always. CHEERS !