Interview with Neasden Control Centre
The work of Neasden Control Centre stands out. The UK-based illustrator blends hand-drawn lines, analog textures, collage elements, typography, and digital processing into a visual language that sits between art and design. Whether in the form of large-scale murals, editorial illustrations, or brand identities – his creations are driven by energy, a love of experimentation, and a strong sense of composition. In this interview, Neasden Control Centre, aka Stephen Smith, offers insights into his style, creative process, and artistic approach.
How would you describe your visual style?
My style is raw, experimental, and layered. I like to combine collage, hand-drawing, and graphic elements – often with rough textures, bold typography, and fragmented imagery. The result is a look influenced by urban culture. I work spontaneously and energetically, with abstract compositions at the core of my visual storytelling. I enjoy bold color palettes, enriched with patterns and free-form markings that give my work a tactile, graphic character.
Collage is a key element of your visual language. What draws you to this technique – and how do you use it?
To me, collage isn’t a separate discipline – it’s a way of thinking. I often work intuitively; the image emerges through the process itself. I use collage to create tension and spontaneity. Sometimes I deliberately cut my work apart to introduce friction. My work always hovers between construction and deconstruction – and that wouldn’t be possible without collage.
You move between analogue and digital techniques. How did this interplay develop?
I started out working solely with analogue media, drawing for hours on end. But over time, I became excited about digital tools. What you see today is the result of more than 25 years of merging both worlds. It’s important to me not to start directly on the computer – I always begin with paper, developing ideas in sketchbooks before moving to the screen. That’s what gives the work its depth and character.
Which creative influences have shaped your work?
There are countless influences, but I’m especially fascinated by the graphic art of the 1960s and 70s. During my studies, I had the fortune of working with some amazing tutors – they introduced me to artists like Kurt Schwitters, who had a lasting impact on my visual language.
What role does storytelling play in your work?
A central one! I studied Sequential Design for my Master’s in Brighton, and that shaped how I work today. Even when my compositions are abstract, I think narratively – it’s always about telling a story through graphic means, even if the narrative remains open-ended.
You work across many formats – from murals to editorial to branding. Is there a medium you feel especially drawn to?
I love working large-scale – it really allows my style to unfold! At the same time, I appreciate the clarity and precision required in editorial work. I need both – what matters most is having the freedom to express my visual language.
One particularly interesting project was the visual identity for Man Culture, an initiative about male allyship. How did you approach such a socially sensitive theme visually?
The project called for a visual language that took a stance without being polarizing. We wanted a design that signaled openness while also conveying clarity and strength. I worked extensively with form, space, and colour to reflect this tension – creating a visual platform that felt both engaging and accessible.
You’ve also worked on branding projects like All Good Organic Cereals, where your visuals communicate values like sustainability. How do you translate that into design?
Together with the Creative Director, we developed a colour scheme that reflects the ingredients of each variety. The composition centers around clear graphic elements: a key visual, a logo, playful forms. The illustrations aim to express not just naturalness but also joy in the product. The goal was to create packaging that you’d love to keep in your kitchen – almost like a favourite cookbook!
You also create large murals, such as the one for Warby Parker. How does that differ from branding projects?
Murals are all about spatial awareness. For Warby Parker, I designed an illustration that could be read both from outside and inside the space – incorporating hidden eyeglass shapes and a color palette based on the brand’s signature blue. The goal was to create something timeless that still felt vibrant.
How do you approach commercial versus personal work?
Both worlds feed into each other. Commercial projects are shaped by briefings and parameters – they challenge me to stay true to my voice. In personal work, I let go more – I work fast, impulsively. I’ve learned to maintain a balance between the two.
You seem incredibly productive – how do you maintain that energy?
I do what I love – that’s my drive! I don’t consciously need to “recharge.” Of course, there are tough days. But those are often when interesting things happen. My family, my partner, and our travels together give me additional energy.
Are there tools you can’t live without?
Black chinagraph pencils – they’re essential! And my sketchbooks, which I’m constantly working in.
What are you currently working on – and where would you like to go next?
I’d love to do more music related projects, branding, book design, and immersive formats – projects I can really dive into. I’m also experimenting with screen printing and developing a publication that brings together sketches and work from recent years. In parallel, I’m working on a graphic project with artist Liam Young for a show in Los Angeles. Multidisciplinary work remains key for me – it keeps everything flowing!
Neasden Control Centre represents a form of illustration that transcends convention. His work is rough yet precise, narrative-driven yet graphically sharp – and always visually striking. He bridges the gap between artistic ambition and design clarity, embracing new formats, media, and perspectives. For clients seeking bold visual identities, he’s an exciting partner: versatile, experienced, and unforgettable in style.
Interested in collaborating with Neasden Control Centre?
Get in touch with us! You can view more of his work in his portfolio – we’re happy to connect.