We were commissioned by interior designers and architects MoreySmith to create an identity for their successful award-winning practice. 

We designed a dot matrix font which was specifically created for use in print and web environments and we multiplied and offset to logo to create a fluid identity. The new logotype also provides opportunities to enrich the identity by using a series of tactile techniques. Thermography is used
on the stationery, with a solid colour printed on the reverse and the laser cutting is used on document covers. 

Ellis Miller architects’ ethos is rooted in the modernist British architectural tradition. They design sustainable, humane buildings which are sensitive to their context. In our early discussions with the practice, key phrases used to describe their work emerged such as ‘brutal simplicity’ and ‘making the everyday beautiful’. These became drivers in our conceptual approach to the identity.

We created a bold, typographic logotype based on vertical, structural connections between the letter forms. 

Cartlidge Levene were one of seven graphic design studios commissioned by the curators of the exhibition ‘Wim Crouwel a Graphic Odyssey’ at the Design Museum, London, to design a limited edition poster. The brief was to design a Crouwel inspired poster utilising one of his most famous poster grids created for the Stedelijk Museum, Amsterdam.

We created a design based on a timeline, spanning the duration of
the show, featuring other key cultural events held in London during the same period. The idea was to create
a graphic calendar using the vertical divisions of the grid. The posters were screen-printed in four colours. 

The posters are available from
the Design Museum Shop and Unit Editions.

The V&A’s ceramics collections are one of its greatest glories and unrivalled in the world. The galleries were purpose-built in 1909 and were refurbished and reconfigured by architects Stanton Williams in 2009. The display presents over 3,000 objects which tell the story of ceramics, from the earliest Chinese pottery to contemporary ceramic art. 

We designed the gallery identity
and interpretation graphics, working closely with architects Stanton Williams and the V&A curatorial team. 

There is a sequence of seven connected galleries, each with an individual theme. At the heart of the display is a rigorous label information system which can be easily updated by the V&A. The labels are printed onto magnetic substrate which carefully integrates with the display cases. Large scale graphics, such as dates, are painted directly onto wall surfaces to provide narrative and aid navigation. Relief letters are inlaid into the ceiling cornicing listing the rich vocabulary of the ceramic process.

The River and the Railway tells the story of property investment company Derwent London. The book outlines the 25 year history of Derwent Valley Holdings and its merger with London Merchant Securities in 2007 which has its origins in the nineteenth century. 

The book reveals Derwent’s philosophy and approach and how it works closely with leading architects, artists and designers to produce inspiring office spaces in London. 

The book consists of 160 pages
with a case bound cloth cover and slipcase. Screen printed card dividers are inserted at the beginning of each chapter. A six page fold-out features a photo-montage of a fictitious street composed entirely of Derwent London buildings.

We were involved in all stages of
the process from planning and story-boarding to design. We worked closely with Derwent London and writer Hugh Pearman. The book was produced in an edition of 2,000 copies with a limited run of 100 slipcases.

The Barbican Arts Centre is one of the largest arts, conference and exhibition venues in Europe. Since
its opening in 1982 it had suffered from a lack of wayfinding clarity. 

Cartlidge Levene and Studio Myerscough were commissioned
to develop a new wayfinding and signage strategy as part of a major refurbishment of its public spaces
to make the foyer navigable and welcoming.

Working as part of an integrated team, with architects AHMM, we built on their rationalisation of entrances and realignment of routes to develop a wayfinding strategy that heightens intuitive understanding of the
space. Graphic interventions act as wayfinding beacons and directional signs combine with large scale destination graphics to exploit new openings and sight-lines.

Tate Modern, London is the world’s most visited museum of modern art. An iconic new building by architects Herzog & de Meuron is being added to the south of the existing building to create more display spaces, learning spaces, cafés, restaurants and shops. The first phase will open in 2012
with completion by 2016. Cartlidge Levene and Studio Myerscough have
been commissioned to develop the wayfinding and signage to link the old and new spaces and to ensure that the whole building is easily navigable. 

This new printed map and dispenser is a first step to test some of our wayfinding principles designed for
the new building configuration. 

An important aspect of the brief was the design of a freestanding map dispenser, incorporating a donation money box.

We were commissioned by Alsop architects (now known as Archial)
to design the wayfinding and signage
for the Michael Faraday Community School in Southwark, London. The new school consists of a primary school, a nursery, adult education
and community facilities and an after-school play group.

Our brief was to develop a wayfinding system for the school that engages the young children, engenders a feeling of pride in their school and integrates with the architecture. 

The building is based on a circular footprint with year group classrooms arranged around the perimeter of an open learning space. Signage takes advantage of the open space with good sight-lines. Signs project from classrooms to identify year groups and playful, three-dimensional arrows sign the Studio and Roof Garden teaching spaces.

As part of London Design Week 2009, Grafik magazine invited 39 leading graphic design studios to contribute to Olympik, an exhibition to celebrate the London 2012 Olympics. 

Each studio was asked to represent
a different sport. We were allocated sailing, a sport with eight different classes, ranging from the smallest sailboard RS:X to the largest keelboat, Elliot 6m. 

We illustrated the range of sail shapes for each craft, overlaid as they move across the poster. Each sail is colour-coded with the sailing class names listed underneath.

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To coincide with the launch of Nokia’s new typeface, Nokia invited a small group of individuals and design agencies to create a unique A1 poster using their new font ‘Nokia Pure’.
The brief was to reflect the design foundations of Nokia Pure, which are built on the roots of great Finnish design. The posters were produced
in an edition of 20 and exhibited at a special event in Shoreditch, London.

Our poster was inspired by the Finnish architect Alvar Aalto who spoke about an intimate connection between design and the Finnish landscape. Inspired by his affinity
with natural forms and materials, we created a series of posters using only wood veneer. No ink, no paper, no print process – just the purity of removing material to render the font.

We listed Finland’s ten most common trees in English and Finnish. Our concept celebrates the essence of minimalism, beauty and natural form which lie at the heart of Finnish design.