Advertising
The LNER covered quite an extensive area of Britain, running trains from London to the north east of England and Scotland. The enforced re-grouping of the railway companies in 1923 meant that former rivals within the LNER, spread across England and Scotland, had to work together. The task of creating an instantly recognisable public image for the LNER went to William M. Teasdale, their first advertising manager. Teasdale was influenced by the philosophies and policies of Frank Pick, who controlled the style and content of the London Underground's widely-acclaimed poster advertising. Teasdale did not confine his artists within strict guidelines but allowed them a free hand. When Teasdale was promoted to Assistant General Manager of the LNER, this philosophy was carried on by Cecil Dandridge who succeeded him and was the LNER's Advertising Manager until nationalisation in 1948. Dandridge was largely responsible for the adoption of the Gill Sans typeface; it was later adopted by British Railways.
The LNER was a very industrial company: hauling more than one-third of Britain's coal, it derived two thirds of its income from freight. Despite this, the main image that the LNER presented of itself was one of glamour, of fast trains and sophisticated destinations. The LNER's advertising campaign was highly sophisticated and advanced compared to those of its rivals. Teasdale and Dandridge commissioned top graphic designers and poster artists such as Tom Purvis to promote its services and encourage the public to visit the holiday destinations of the east coast during the summer.
Read more about this topic: London And North Eastern Railway
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