Waddington Custot is a gallery on London’s Cork Street, founded in 1966,1 which specialises in modern and contemporary works of art. The gallery represents a wide range of contemporary artists, in addition to the estates of several significant twentieth-century artists, among them Josef Albers, Henry Moore, Ben Nicholson and Peter Blake. A stalwart of the London art scene, it established the multi-gallery prototype used by many of the world’s leading galleries today.
We were commissioned to create a new visual identity for Waddington Custot in 2016. To create the new logotype, we designed a bespoke typeface based on early twentieth-century Humanist sans serifs including Granby2 and Gill Sans. The letterforms, spacing and weight within the logotype were then adjusted to create a more balanced result, to appear contemporary whilst remaining respectful of the gallery’s heritage. This was paired with Sabon for body text on materials ranging from stationery to press releases, sales sheets, tote bags and e-newsletters.
Waddington Custot Galleries was founded in 1958 by Leslie Waddington. Considered one of the last of the old-school dealers, Waddington always valued thorough research and provenance, and the gallery was known for an erudite approach to its dealings. Stephane Custot joined the gallery in 2011 and Waddington and Custot began a shared partnership. ↩
Granby was designed by the Sheffield-based Stephenson Blake type foundry in 1930, as a response to the popularity of new Humanist style lettering of the English typefaces Gill Sans and Johnston. There are several key differences between Granby and its contemporaries. Amongst these are spurs at the top of lower-case characters like ‘p’ and ‘a’, longer strokes on the capitals, a single-storey lower ‘g’, a straight top to the ‘3’, and a straight lower leg to the capital ‘R’. These details help to give the typeface a different feeling from Gill Sans. ↩