NEON Giving Team GB an edge Brazil 2016

UK Sport Performance Pathway Team
Giving Team GB an edge

Being seen as the leading edge within UK Sport and Team GB Sports.

Long-time Neon client UK Sport is the government body responsible for strategic investment in our most talented athletes.

Kind words…

“This was a fantastic job!”

To find out more: info@neon-creative.com or call +44 (0)20 3289 1733 Share this: Email,Google+, LinkedIn, Twitter, Facebook, Download PDF

 

SPORT
Branding

PROJECT SUMMARY
Branding concept
Art direction
Illustration
Photography
Interior graphics
Brochure design
Digital templates
Copy writing
Apparel


UK Sport Pathway Performance Team logo with Project Area descriptor and iconic athlete silhouettes.

UK Sport Pathway Performance Team logo with Project Area descriptors.

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UK Sport Pathway Performance Team literature and the Project Area literature suite.

Other projects you may find of interest…

THE CREATIVE STUFF – Nick Garrett Signwriter London Town

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THE CREATIVE STUFF

Creating your new sign starts with you.  Your idea and business portrayal – your special name plate or tag.

From that point I join the process and develop your idea to completion. When finished something special happens and in the words of my recent client:  It changes everything… identity…

A good sign really is a crucial first marketing step: a wise investment that ensures success for your future.

My mission is to make you the very best in service and sign ID.

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The pricetag

It won’t break the bank and stays all ways better than vinyl!

House numerals start off at £60.00 and fascias around 300.00

So it isn’t the case that bespoke quality is out of reach and honestly quite often clients tell us our prices are better than vinyl!

Each job is unique and will require an individual costing.  But to be sure we always outline the whole process and price each component as a breakdown – a white letter on black will always need two coats and will cost more than black on white, but we really do try to match your budget to expectation.

We’ll explain the best solution, innovation and offer ways to make savings.

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NGS Testimonials

More Recent Work


… if we chase perfection we can catch excellence  – Vince Lombardi


UK  London

ngsfwt@outlook.com

West End, Central London and City covered

Home Counties and Europe too


Combining genuine, classical hand painted signwriting with cad design for many clients including retail, architectural, gallery, design industry, and private commissions – I guarantee first class quality, competitive price and prompt service to all my clients.

I am happy to drop by and work out your project with creative input and design details.  Better still email me your ideas to get started.

       Nick Garrett

My secret life as a graffiti artist

  • Street art
    London Signwriter -  Nick Garrett NGS Click a new NGS FreeApp!
    NGS for Traditional Hand Painted Signs, Murals and Artworks – All over London and UK… Europe too!

My secret life as a graffiti artist

A successful property surveyor was jailed this week after his secret life as a tagger was uncovered. But he wasn’t unusual – lots of us are middle-aged family men with good jobs

Graffiti artist Glynn Judd standing in front of one of his paintings

Graffiti artist and former train-writer Glynn Judd, aka NOIR, in front of one of his paintings in north London. Photograph: Frantzesco Kangaris

The case of Kristian Holmes, the graffiti artist jailed this week for three and a half years after being convicted of 39 incidents of criminal damage and perverting the course of justice, brings back vivid memories for me. Like him, I led a double life – respectable job by day, graffiti artist by night. Like him, I’m a dad. And like him, I was caught and sent to prison.

I was sentenced to 16 months, of which I served four months in HMP Wormwood Scrubs and four months on home detention curfew, with the remainder to serve on licence. I find it interesting that Stuart Hall, the entertainer who was convicted of child abuse this week, got only 15 months. It seems to me that the courts value property more than they value the scarred life of a child.

There’s a similar double-standard within graffiti art. Banksy will draw on the side of a building and the councils will protect him; they will fight over the piece of work going to a gallery because they want it to stay in their community. However, if another graffiti artist comes along, tags on that wall, the council will expect a criminal conviction. If Banksy got arrested and went to court I wonder whether he would suffer the same fate as Kristian Holmes? I doubt it. So when does graffiti become a crime?

I’ve met Kristian on numerous occasions and I know him as a tagger, or what we’d call a bomber. The court was told that for seven years he daubed his tag “on an industrial scale” across the south-east of England. Kristian, a father-of-two, worked as a respected property surveyor during the day, but in his free time went out with his spray can. If asked whether I like his style, the answer would probably be no, but at the end of the day he’s getting his name – VAMP – out there, and that’s all that matters.

The The “VAMP” tag used by graffiti artist Kristian Holmes, who was jailed this week. Photograph: Central NewsFor a decade I was known as the most prolific train-writer in the country, using the tag NOIR. British transport police had a chart of the most-wanted graffiti artists, and I was No 1. I was proud of the title and relished the years of cat-and-mouse games as they tried to apprehend me. I’m writing a book called Addicted to Steel: the Story of London‘s Most Wanted Graffiti Vandal, which gives a detailed account of how our secret society exists.

Graffiti art originated in the late 1960s in Philadelphia in the US, and then arrived on the New York subway system in the 70s, so for me it’s always been an art form based on trains. Painting on trains is very fast-moving – you paint it, it goes into service, it goes from one city to the next, one end of the country to the other, so everyone gets to see it for a certain amount of time, and then it gets cleaned off. To me it was all about the movement, the fluidity of it, rather than it being stagnant on a wall where most people wouldn’t see it. I wanted my name all over the city.

By the time it came to England, the train scene was pretty much over in New York. Mayor Ed Koch and New York City Metropolitan Transportation Authority boss Bob Kiley promised to eradicate graffiti and made sure that anything that went into service was cleaned immediately. But a book called Subway Art, written by Martha Cooper and Henry Chalfant, opened our eyes to this new art form. As kids, we studied that book; it was full of trains covered in graffiti, with names like SEEN, SKEME, DEZ and FUZZ ONE. Two years later, another book,Spraycan Art, was published, which included graffiti on walls – colour productions by crews around the world showcasing their talent. By the mid-80s, the graffiti art movement had gone global.

Graffiti has been part of my life since I was 12. At school, I would sit in lessons drawing my name instead of listening to the teachers. When Saturday morning came, I’d grab my bag of paints, meet up with friends and go and paint.

After leaving school, I got a job in London as a property investor at a global bank, but I kept painting trains. I was often doing it four nights a week. On Monday mornings I would turn up having barely slept all weekend, and my colleagues would say, “Blimey mate, you look a right mess, what have you been up to?” I couldn’t tell them the truth – so I told them I’d been out partying. And to me it was a party – but in a train yard instead.

My job was very target-driven: there were multimillion-pound deals and lots of foreign clients to socialise with. I’d have a few drinks, then go home, have an hour or so’s kip, then assume this different persona, and be out until six or seven o’clock the next morning. People’s perceptions of graffiti writers seems to run along the lines of council-housed and violent, when in reality many of us are upstanding members of the community in our late 30s and early 40s with good jobs and families to support.

In the early days I didn’t have the internet to help me locate yards. I used to have a little train bible – basically a trainspotters’ book that tells you where the trains are laid up and coupled in the sidings, and the best place to enter and take photographs of them. Only a few of us ever had this book – it was the holy grail to many train writers.

Gaining access to the train yards was difficult. You would have to take a pair of bolt cutters with you and cut your way through. I had a lot of yard knowledge – I did my homework. I would watch the cleaners, follow the train drivers home and note what cars they drove. They used to activate the sensors on the yard fences about midnight; so if you arrived early, you could cut the hole without them knowing. You’d sit there for hours watching the security guards. It was the best game of cat and mouse you could play. Sometimes I’ve been so close I could probably whisper in their ear. They’d look around but wouldn’t know I was there. Then when they left I would paint the train, take a photograph, and leave. The adrenalin rush was amazing, and difficult to replicate.

Graffitti artist Kristian Holmes at Blackfriar's Crown Court.Both Kristian Holmes, pictured, and Glynn Judd had well-paid jobs by day, and went out with their spray cans at night. Photograph: Kevin Dunnett/Central NewsThe courts and the media like to make out that we cause thousands of pounds worth of damage to trains, and that it takes many man hours to clean them. But in fact the trains have a protective film on them and the paint we use is acrylic – it’s water-based. Most train yards have a washer system, which we call the “buff”, that takes about 10 minutes to clean the whole train, and that’s it – it goes back into service.

I kept my double life secret for 10 years. During that time I travelled the world and met some amazing people, many of whom didn’t even speak the same language, but we were all focused on the same thing – which was to go into a train yard and paint our names as colourfully as we could. I’ve had experiences I will always treasure.

Then one day I decided there wasn’t much left for me to do. I hadn’t been caught, everybody knew my name, I was well respected, I’d painted with some of my heroes and I thought now I needed to do something else. It wasn’t divine inspiration – I didn’t get a tap on the shoulder saying: “Now is the time to give up and redeem yourself” – I just started falling out of love with it. I gave up working in the City and I went back to college to retrain. I started getting involved in community projects and workshops for kids; I was even asked to help paint the Dizzee Rascal house for the Olympics opening ceremony.

I started getting invited to art exhibitions of legal graffiti writers’ work. After a year of not painting illegally, hoping I’d been forgotten about, I started attending these events and doing gallery shows. I put my name out there and was doing good things, I thought. But the British transport police graffiti squad attend those events, too, and take covert photographs of everyone. They took a photo of me, studied it and realised who I was. They had been chasing me for 12 years and now they had me on camera. They started building a case based on that one photograph. They didn’t have a single picture of me committing an offence, but they went to Yahoo, Google and Flickr and got permission to download all my conversations with magazines and websites.

Is Kristian Holmes’s disproportionate sentence going to be a deterrent to others? No. People who commit criminal damage will carry on regardless of the sentence they get. It’s the justice system and how it deals with sentencing that needs to change. How can judges justify giving harsher sentences to graffiti artists than to paedophiles and rapists? If you really want to stop criminal damage, you start with educating kids in schools.

I was sitting on a beach with my six-year-old daughter recently. I picked up a stone and started writing in the sand. She said: “You shouldn’t do that, Daddy.” I said: “But I’m just writing our names.” She took the stone off me and burst into tears. I couldn’t understand why it was a problem. Whereas my little one seems to know already.

As told to Aida Edemariam

Article

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07951509238 call Pam or Nick for more info


MAKING LONDON MORE BEAUTIFUL…

by hand, by heart, by eye

Eye Candy at Bunga Bunga case London – NGS

yowza!!!   

Here is a quick photo case of our flash splash for Bunga Bunga disco club in Battersea, London.

It was really cold and after an hour right at our backs 3 huge reverse cycle air con units started up, blowing FREEZING air into our kidneys!!  Time to move inside!!

Minus 3 degs… brrrrr

Finally I laid on Glow in the Dark phosphorous paint to all white areas and the job was done!

Tonal transition on the mirror tile details created the sensation of light and 3D

 

Nick Garrett – Design, layout, all paint, detailing

Jack Hollands – tech assist draw up and double coating

Silvio Berlusconi – toilet cleaner

 

NGS Insegne Antiche – a Parma da 1981 – in tutta Italia

Insegne Antiche Parma

NGS Insegne Antiche – a Piacenza, Milano e Parma

Nick Garrett Fine Signwriter London Italiano Inglese

La società ha sede a Piacenza, Milano, Londra e Parma.

Lo stile delle insegne è un revival della tradizione tipografica italiana passata in legno, alluminio e resina. Dipinta a mano, pronta per essere decorata a mano o con scritta adesiva o altra soluzione grafica.
NGS opera sia nel Regno Unito, in Italia e all’estero attraverso un’ampia rete di distribuzione.

Retro ItalianIMG_0249-2-1024x683.jpg

Leo-Beukeboom-script.jpg

La gamma di prodotti è in continuo aggiornamento attraverso lo studio di nuovi tipi di materiali e metodologie di produzione. Lo staff tecnico si occupa di ricerca storica specializzata e di riprogettazione delle forme.

Le nostre insegne sono tutte fatte a mano e dipinte a mano da abili artigiani.
Forme simili sono prodotte anche in fibroresina con dimensioni fisse a vantaggio di costo significativi.

Cate +39 3383111950  Nick +44 7960113799

nick@nickgarrettsignwriter.com

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A Mano

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Antiche Insegne

Cate +39 3383111950

+44 7960113799

nick@nickgarrettsignwriter.com


Insegne Antiche Classiche

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Michael Leventis – lettering for the artist

Lettering the fine fine art painting

This lettering commission was really unpredictable with the canvas and different absorptions affecting flow of sign enamel.

The letters actually flowed on beautifully… but the real drama was getting them on in the first place.

Normally the layout drawing traces down onto the surface easily and one uses the chalk line draft as a close spacing guide.

This drawing and trace down decided to completely fail for some unfathomable reason.  It was at that moment I realised there was something special in the way he applied his paint.

”Only oils with turpentine he mused..”

But as I gave up the normal route I realised I had to do it differently and without hesitation.

I grabbed a pair of rusty studio scissors and started hacking out the letters with reasonable accuracy and rising panic… after a fairly desperate activity I laid the drawing back up and flicked chalk across the now newly chopped stencil.  In 32 years this was a first and not without desperation.

I never use the drawing as a final mark… I always take my brush and allow it to command the structure and curves.  The drawing gets you spaced accurately but after that it can get in the way.

At last my pallet was loaded and brush charged to the canvas the chiselled sable went and with a tip led technique I found myself flying around the text!  Ocassionally the canvas sucked in the mix and cause tiny errors, spiders and runs…  I zapped these with tissue at hand and re cut the glyphs.

The font itself was a contrived New york wharf type of 50s font – chunky and hard. Standing back with line one done it looked really hard and perfect.

I was amazed!!  This was good.

After 30 minutes they were done and it was solid… no need for an outline as originally planned.

The painting had taken on a new dimension and talked it’s own poetic message.

Masking the 10mm box line was a job every bit as accurate as Damien Hirst job nay more so… involved taping registers for marking out … marking, straight liner tape as offset guide, then Frog tape, tracking the straight setters… corners all needed re tape cut ins because impossible to razor trim tap for obvious reasons… Frog Tape ruled again with only 2 tiny bleeds.

Curious as I usually am about my clients, I had a number of fascinating kick-back chats with Michael in his fab Rauol restaurant in Maida Vale and talked about his past present and future aspirations..

I can recommend the salmon and avocado sandwich by t’way.

”I started out working with my father… he didn’t want me to head in the ‘wrong direction’ (art college) and so in my early twenties I found myself in the USA … we had a number of businesses in the states… one of which was a bottling plant for Cocoa Cola… ”

But it wasn’t until I met Francis (Bacon) years later and quite by chance on Ios that I realised I had to paint again… Francis demanded I return to England and found me a studio… how could I refuse that?

” You see my father died of lung cancer… and the chap in the Marlborough adverts died of lung cancer too… so it’s deeply ironic.

I physically winced when he told me that.

”How devastating… ”

Michael kep his eyes fixed in his sheltered yet poised way.  he struck me as a tender hearted man and a gifted painter.

Getting up close to his image on the canvas was quite a surprise because at a distance these graphically rendered images seem rather slick. Up close is a different mater.

They are beautifully painted… crafted across the carefully selected shifts and divisions.

Divisions they depict and play with.

TBC shortly

NG

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