Oral history; Interview with Tom Eckersley, 1983
Main details
| Reference number | 2016/681 |
|---|---|
| Description | Poster designer Tom Eckersley describes his time working for London Transport, and his relationships with Frank Pick and Edward Mcknight Kauffer. |
| Interviewee | Tom Eckersley |
| Dates | 11/05/1983 |
| Collection | |
| Object type |
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| Topics | |
| Completeness | 64% |
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Physical description
Item content Attribute Value Object title Oral history interview with Tom Eckersley, 1983 -
Interview summary
Track 1 of 1 [00.45.16]
Tom Eckersley (TE) studied at Salford School of Art from 1930-1934 where he met fellow student Eric Lombers (EL). They decided to work together in London where all the publishers were based. The principle at Salford was Harold Rhodes (HR) who was very interested in graphic design, which wasn’t explored much at that time in art colleges. HR was on The Art and Industries Council of which Frank Pick (FB) was also on the committee. TE recalls they had been working in London for approximately a year and had been trying to work for London Transport. HR wrote to Frank Pick in c.1935 expressing TE’s and EL’s interest in London Transport. This resulted in a meeting with Christian Barman (CB) and a first commission about floodlighting at London Zoo – a small poster for train carriages. CB also suggested posters that could be developed from their portfolio, one being for music in the parks [00.03.19]. TE recalls that CB was very encouraging to them as artists and gave them a lot of work. TE and EL worked together and would sign their work Eckersley Lombers. TE describes their approach to problem-solving within their designs. They were given the subject by LT and had free-reign to find the solution. Sometimes London Transport would have something in mind that they were asked to work with. They would produce an almost-finished design for approval by Barman and Pick, including the lettering. The body type was always in Johnston typeface [00.06.23]. The slogan was always given to them. TE describes the size of the original artwork. Discusses how Edward McKnight Kauffer worked. TE preferred to work actual size. TE found LT to be very reasonable to work for [00.08.28]. Recalls meeting FP at 55 Broadway to discuss a design using the Underground symbol. Only met Pick once. TE recalls in c.1936 a commission for photographic posters for the British Museum and Pick’s idea for featuring a figure of Snow White as her character was then topical. The idea did not follow-through [00.13.19]. TE recalls a commission for a bus poster and Pick’s idea that it should use photos. Barman liked Eckersley’s and Lomber’s illustration but FP insisted on using photos. The design was completed by someone else [00.14.45]. Eckersley discusses the introduction and use of photos in LT posters in the 1930s and Kauffer’s use of images [00.16.12]. TE explains how the commissioning and design process was the same when working for Shell and The Post Office as for LT. Recalls fees earned and explains the commissioning from LT was direct and did not involve agencies. TE discusses agencies, and how work is now done in-house. Expresses sadness that the commissioning process no longer involves working directly with the artist. Mentions Olivetti’s advertising in the 1960s and individuals at the top who had an interest in art. Recalls the 1950s and 1960s being very exciting periods for advertising. Expresses disbelief at the standard of work
today in comparison to that period and how television has affected the use of posters [00.23.21]. Recalls the output of work by London Transport in the 1930s and a poster being used for every event taking place in London: the Cup Final; Crufts. LT would use new artists for these smaller posters before allowing them to create a ‘series’ of posters. TE refers to Paul Nash and Graham Sutherland [00.25.30]. TE comments on Barman’s appreciation and knowledge of art and design, and how TE learnt a lot from working with him. Comments on the importance of art in society [00.30.28]. Comments on the use of photography. Recalls a series of posters from the 1930s designed by Herbert Matter for the Swiss tourist board and comments on the timelessness of the design. Refers to the French poster designer Cassandre, and Edward McKnight Kauffer being his greatest influences. Recalls the only occasion he met Kauffer when working for Frances Meynall of Nonesuch Press [00.35.07]. Recalls discovering after her death that his wife, Mary Kessell, had designed unbeknown to him a poster in the 1930s for Shell and comments on Shell’s poster archives. Recalls his war contribution designing accident and prevention posters for factories and discusses the poster campaign for health hazards during the Second World War. Recalls enjoying these commissions and working on a smaller scale. TE worked as a freelancer and was not employed as a war artist. Mentions Sir Stephen Tallents and The Post Office [00.40.40]. Discusses Abram Games position as a war artist. Recalls work commissioned by Kenneth Robinson and posters for Syon Park; Ceremonial London and Heathrow. Ends with describing his technique of working with forms cut out of paper and how there is now a larger range of coloured paper to work with.
End of track [00:45:16] -
People involved
Role Person(s) involved Interviewer Oliver Green, 11/05/1983Interviewee Tom Eckersley