Auf diesen Seiten stellen wir Ih­nen Handw­erksmeis­ter und Kun­sthandw­erker aus der en­glis­chsprachi­gen Welt vor. Diesen Monat hat sich Spot­light mit dem Beschrif­tungs­de­signer und Schil­der­maler Ged Palmer un­ter­hal­ten. Von DAG­MAR TAY­LOR

Spotlight - - CONTENTS -

Meet Ged Palmer, a sign pain­ter

Ged Palmer opened the first Lu­mi­nor Sign Com­pany two years ago in Shored­itch, in the East End of Lon­don. Cur­rent clients in­clude a lo­cal prop­erty shop, a cou­ple of clothes shops, the British Mu­seum and Adobe. Tra­di­tional sign paint­ing is ex­pe­ri­enc­ing a re­vival, and there’s a lot of work in the cap­i­tal.

“Peo­ple are more aware of what they can do to stand out,” Palmer told Spot­light. “It’s not the fact that it’s painted; it’s more the fact that the peo­ple who are do­ing painted stuff have a bet­ter eye for de­sign.”

Palmer has al­ways been “hooked on let­ters”. While study­ing graphic de­sign in Bris­tol, he did ap­pren­tice­ships in a cou­ple of pub­lish­ing firms, where he worked on dig­i­tal lay­outs. It was when he met let­ter­ing artist and il­lus­tra­tor Tom Lane, though, that he re­ally found his ca­reer. “I walked into his stu­dio and saw him draft­ing ev­ery­thing by hand,” Palmer ex­plained. “I spent two years shad­ow­ing him, and he showed me how to be a free­lancer.”

Then a friend of Palmer’s asked him to do all the brand­ing and lo­gos for a restau­rant in Bris­tol. Palmer con­vinced his friend that he should also cre­ate the 13-me­tre signs above the en­trance. Know­ing he was in over his head, he called lo­cal sign­writ­ers Dap­per Signs. They and Palmer did that first job to­gether, with enamel paint and brushes. Palmer loved the work and kept ask­ing him­self, “Why didn’t any­body tell me this stuff ex­isted?”

The sign pain­ter aims to make his work af­ford­able for ev­ery kind of busi­ness and to help keep the high street alive. He en­joys the sense of com­mu­nity, which isn’t al­ways easy to find in a city like Lon­don. “One day, you’re in a tat­too shop with death metal on, and the next day in a fancy cof­fee shop with clas­si­cal mu­sic,” he says.

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