page_title: Frank Pick
section_title: Branding – a clear identity
hierarchical_section_title: Frank Pick / London's transport / Branding – a clear identity
caption_attribution_description: "Golders Green" a poster from the Underground Electric Railways Company of London (UERL) advertising the benefits of living in Golders Green, the northern terminus of the recently opened Charing Cross, Euston and Hampstead Railway. Original size: 610mm wide, 1000mm high.
context_page_description: Frank Pick Hon. RIBA was a British transport administrator. After qualifying as a solicitor in 1902, he worked at the North Eastern Railway, before moving to the Underground Electric Railways Company of London in 1906. He was chief executive officer and vice-chairman of the London Passenger Transport Board from its creation in 1933 until 1940.
  Pick had a strong interest in design and its use in public life. He steered the development of the London Underground's corporate identity by commissioning eye-catching commercial art, graphic design and modern architecture, establishing a highly recognisable brand, including the first versions of the roundel and typeface still used today.
  Under his direction, the UERL's Underground network and associated bus services expanded considerably, reaching out into new areas and stimulating the growth of London's suburbs. His impact on the growth of London between the world wars led to his being likened to Baron Haussmann and Robert Moses.
  Pick's interest extended beyond his own organisation. He was a founding member and later served as President of the Design and Industries Association.
context_section_description: By 1908, Pick had become publicity officer responsible for marketing and it was at this time that, working with the company's general manager Albert Stanley, he began developing the strong corporate identity and visual style for which the London Underground later became famous, including the introduction of the "UNDERGROUND" brand. Pick's philosophy on design was that "the test of the goodness of a thing is its fitness for use. If it fails on this first test, no amount of ornamentation or finish will make it any better; it will only make it more expensive, more foolish."
  Pick became traffic development officer in 1909 and commercial manager in 1912. Albert Stanley replaced Gibb as managing director in 1910. During 1912 and 1913, the UERL increased its control over transport services in London by purchasing two tube railways, the City & South London Railway (C&SLR) and Central London Railway (CLR), and a number of bus and tram companies. One of Pick's responsibilities was to increase passenger numbers, and he believed that the best way to do so was by encouraging increased patronage of the company's services outside peak hours. He commissioned posters which promoted the Underground's trains and London General Omnibus Company's (LGOC's) buses as a means of reaching the countryside around London and attractions within the city. Realising that variety was important to maintain travellers' interest, he commissioned designs from artists working in many different styles. 
  At the same time, he rationalised bus routes to ensure that they complemented and acted as feeder services for the company's railway lines, tripling the number of LGOC-operated routes during 1912 and extending the area covered to five times its previous size. Sunday excursion services to leisure destinations were implemented to fully utilise otherwise idle buses and agreements were established with rural bus operators to coordinate services rather than compete with them.
  Pick introduced a common advertising policy, improving the appearance of stations by standardising poster sizes, limiting the number used and controlling their positioning. Before he took control of advertising, posters had been stuck up on any available surface on station buildings and platform walls in a crowded jumble of shapes and sizes that led to complaints from passengers that it was difficult to find the station name. Pick standardised commercial poster sizes on printers' double crown sheets, arranging these in organised groups to enable the station name to be easily seen. The Underground's own promotional posters were smaller, using single or paired double royal sheets, and were arranged separately from the commercial advertising. Pick described the process: "after many fumbling experiments I arrived at some notion of how poster advertising ought to be. Everyone seemed quite pleased and I got a reputation that really sprang out of nothing."
  To make the Underground Group's posters and signage more distinctive, he commissioned calligrapher and typographer Edward Johnston to design a clear new typeface. Pick specified to Johnston in 1913 that he wanted a typeface that would ensure that the Underground Group's posters would not be mistaken for advertisements; it should have "the bold simplicity of the authentic lettering of the finest periods" and belong "unmistakably to the twentieth century". Johnston's sans serif "Underground" typeface, (now known as Johnston) was first used in 1916 and was so successful that, with minor modifications in recent years, it is still in use today.
  In conjunction with his changes to poster display arrangements, Pick experimented with the positioning and sizing of station name signs on platforms, which were often inadequate in number or poorly placed. In 1908, he settled on an arrangement where the sign was backed by a red disc to make it stand out clearly, creating the "bulls-eye" device – the earliest form of what is today known as the roundel. In 1909, Pick started to combine the "bulls-eye" and the "UNDERGROUND" brand on posters and station buildings, bu
caption: One of Pick's first poster commissions from 1908,[15] extolling the benefits of living in Golders Green, which the Underground had recently reached
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