Frith Kerr studied at Camberwell College of Arts (1992-1995) and at the Royal College of Art (1995-1997). For eleven years she was 
a director and partner of the highly acclaimed studio Kerr/Noble with Amelia Noble. In 2009 she established her own studio 
Studio Frith based in Borough, London.

She works across various media: from books, posters, typefaces, identities to exhibition design, signage, websites for a range of corporate and cultural clients. Clients include: Arts Council, Barbican Art Gallery, Caruso St John, Channel 4, David Chipperfield Architects, Liberty, Modern Art Oxford, Selfridges, Shakespeare Globe, Serpentine Gallery, Tate Modern and Tate Britain, Heatherwick Studio, and Oglivy & Mather NY.

Frith is featured in the Independent on Sunday’s “Top Ten Graphic Designers in the UK” in 2002, the Guardian’s “UK Top Fifty Designers” in 2007, ‘Britain has continued to produce — and educate — some of the world’s leading designers: Kerr/Noble in graphic design…’ Alice Rawsthorn, International Herald Tribune.


Kerr has a way with words, and in this particular example the pure simplicity and transparency works brilliantly. This example is more typographic in context – but it has a brilliantly finished and harmonious feel.

This is Kerr’s version of a poster that raises the question of form – a commission organized by the London Design Festival’s founder, John Sorrell, and Pentagram’s Domenic Lippa for the festival in September 2009. The idea was to find who would come up with the most diverse result. Kerr used  an eccentric setting of Ian Dury’s version of ‘The Bus Driver’s Prayer. The way Kerr has utilized the letters, by altering the positions and making interesting points and phrases, and the whole layout and shape results in an unusual yet extremely eye catching poster.