The centre still needed to look approachable, though, and cater for Quentin’s harshest critics: the kids. A vibrant palette of greens, complemented by pink, orange, yellow and blue, speaks to this element of the work. “The association of Caslon Doric Condensed and Antique No. 6, paired with the colour palette, gives the Centre a bold, strong, yet playful look,” says Fraser Muggeridge.
Just as the history of the site is represented, so too is the medium it houses. Fraser and Manon looked to the origins of analogue printing methods “where illustration first flourished and still lives”, comments centre artistic director Olivia Ahmad, for the work. This ties in once more with the centre’s location in Clerkenwell, which has a strong printing heritage. The wordmark, for example, pays homage to various forms of line-making and even reflects the lively draughtsmanship Blake is best known for. Olivia states the final identity “prioritises the work of illustrators and is flexible enough to frame the diverse range of approaches that we will continue to champion”.
The new identity launches with a site developed by Birmingham-based studio An Endless Supply. As the centre continues to work towards a 2024 opening date, Fraser Muggeridge will lead on designing wayfinding signage and other onsite applications in dialogue with Tim Ronalds Architects.