As has been reported elsewhere, the big glowing Time Out sign came down this week from the front of the TO office in Tottenham Court Road where it has lived since around 1993. It has gone into storage, ahead of a proposed office move and will at some point, we are promised, be restored to wherever the magazine ends up next. I hope it does. This is, after all, one of London’s few bursts of neon and probably the only one that is halfway decent to look at.
That’s because the logo is a design classic, the work of Pearce Marchbank, an art school student who drifted into the more agitated end of the counterculture after the Grosvenor Square anti-Vietnam demo. ‘The impact on me,’ he said, ‘Was blowing away all that love and peace shit which I thought was bollocks and complete pretence.’
After working on Friends, Marchbank was asked by Time Out founder Tony Elliott to redesign his shambolic magazine. ‘I hated the unadventurous way it looked,’ said Marchbank. The entire magazine was redesigned, with the logo being created at the last minute on a Sunday afternoon in November 1970. ‘It was supposed to look like an out-of-focus neon light,’ Marchbank explained. ‘It was Letraset Franklin Gothic, shot out of focus so it had a glowing fuzziness to it. I put a negative over the positive and the gap between the two made the glowing neon outline, which I shot in line then again out of focus. It was deliberately transparent, so the cover images could read through it, as if it were on the glass of a window.’
This distinctive, blurry effect was intended to be a short-term solution, but Elliott refused to change it. It was a wise decision although not everybody liked the new look. One reader wrote in asking if the magazine could include a pair of glasses with each issue as the typeface was now too small to read.
Marchbank continued to work for the magazine on-and-off throughout the 1970s creating some of the best covers in the history of publishing. He was back there in 1981 when it imploded in a series of strikes, stand-offs and occupations between staff and management over wages and the historic equal-pay system. As Elliott attempted to regain control he learnt that the logo – which was now being branded all over London and which the strikers were hoping to claim as their own – actually belonged to Marchbank.
Elliott called Marchbank, saying ‘I want you to write me a letter saying you’re giving the logo to me.’ Marchbank figured it was probably worth as much as £100,000 but, strapped for cash and short of time, asked Elliott for a mere £2,000.
‘What? £2,000! How can you do this to me after all the things I’ve done for you?’
The conversation ended. Shortly afterwards, however, Marchbank was offered a job with Richard Branson’s new London magazine, Event. As his parting gift, he presented all rights to the logo to Elliott. To turn into a real piece of neon was both a no-brainer and a stroke of genius. I hope one day the sign will be back above the door in some London street – if not, I’m sure it’ll fetch more than £2,000 on eBay.
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