David Pearson's experience in real life book cover design, and how his experimentation with different design methods helped create exciting and unique book covers.
Alongside our degree show opening last week, we also launched a new exhibition celebrating our ‘Real Jobs’ scheme.
Real Jobs has been our flagship professional experience programme for as long as Typography has existed as a department. It allows our students their first taste of working alongside clients to co-create, and deliver on, a design brief. Our graduates regularly tell us that their experiences on these projects exposed them to unique and powerful moments that helped them secure their first paid positions, and continue to inform their professional practice today.
Standout projects on display include the Tomos Jones’ recent gold medal-winning University display at the Chelsea Flower Show and Maddi Davies’ collaborative project on Margaret Atwood, Second Sight. But a full range of work is on show, everything from books to branding, and we hope it is a fitting tribute to the students, staff and clients who have contributed to making Real Jobs such a successful part of the curriculum here in Typography.
The exhibition runs until 28 June. If you’ve ever been a client of Real Jobs, or if you’d like to know more about how the scheme could help your project or organisation, please do stop by to enjoy this celebration of five decades of students’ first steps into the world of professional graphic design.
“I believe this is a great scheme, both supporting students with real life projects and work experience and also providing great value to small companies in need of professional design support” – Sirin Myles, International Education Consultant
“The Real Jobs scheme is an excellent way for students to get experience working towards a brief and is a great way to help everyone involved gain experience that will be useful when transitioning into a working environment. I will be recommending the scheme to my employer as I believe it provides unique opportunities for all involved.” – Isabel Cash, Holland House Books
We’d like to thank everyone who attended the private view of our degree show on Thursday evening. Our graduating class of BA Graphic Communication and MA Book Design students hosted a fantastic event which showcased not only their outstanding design work, but also their truly exemplary sense of teamwork and studio culture. Every aspect of the show – from promotion through to signage – is led by the students, and this year’s huge attendance and impressive co-ordination is testament to their efforts.
We’ll publish photos of the standout work on our flickr site shortly, and the student-run instagram is likely to fill up with more content soon. Meanwhile, if you’d like to see some of the work right away (including projects that won our coveted annual examiners awards), please do head over to the Department and ’embrace the space’ to enjoy the public view between Monday 17 and Saturday 22 June. The show covers everything from cutting edge UX to traditional book crafts, and there is an especially strong sense of experimentation and individuality this year.
For more information, visit https://embracethe.space
Early lithography around the world: objects, processes, and experiences was a workshop that was convened by Reading PhD candidates Borna Izadpanah, and Wei Jin Darryl Lim. It was conceived together with, and led by Professor Emeritus Michael Twyman, and was held in the Department of Typography & Graphic Communication on the 27 March 2018. The workshop was planned as a series of informal sessions and brought together a select number of colleagues working internationally in various disciplines and professions, from conservation and restoration, to type design, and printing and book history.
A collections-based approach was central to Early lithography around the world. To that end, Michael Twyman drew upon his personal collection of printed artefacts originating from, and relating to the lithographic printing trade across two centuries, and set up a rare exposition – a miniature exhibition to be specific – of his personal collection of items, supplemented by the lithographic stones collection, and ephemera collection of the Department of Typography & Graphic Communication. Artefact- and materials-handling was instrumental to the delivery of the workshop, and at various instances participants were strongly encourage to handle, study, and observe – by sight and touch – the visual and material nuances of a variety of objects: from a miniature model of a star wheel press, lithographed trade cards, manuscript bills of sale, to limestone fragments from France and from the Solnhofen quarries in Bavaria.
Divided into several parts, the workshop was loosely arranged around the themes of lithographic stones and their sources, trade tools and technology, operations and production, and products of the press. Our session began with Michael presenting and highlighting the intrinsic importance of lithographic stones to the nature of the technology and trade, regardless of geographic location, or scale of printing operation. This intense, in-depth presentation about the geological qualities of the lithographic stone bred fertile discussion by drawing in a new area of research consideration, with participants sharing anecdotes and bringing contributions from their own areas of expertise and interests. This was followed by a discussion about the lithographer’s tools – pens, crayons, and various paraphernalia employed by writers working in the trade, and the technicalities, considerations, and issues behind the operation of a lithographic press. The printed products emanating from presses were examined next; with participants learning how to identify specific characteristics that gave clues into how a lithographed piece might have been originated, multiplied and printed. Particular attention was paid to distinguishing between writing done in reverse on stone, and work done the right way round on transfer paper, and then transferred to stone. Various types of artefacts – books, pamphlets, newspapers, ephemera – printed from the various sub-branches of lithographic technology were also meticulously examined and handled; including products printed by gillotage, a process that was used to convert lithographic marks made on stone (or transferred to it) into relief images.
Numerous productive discussions punctuated the day. Participants actively drew connections and shared insights from their own specialisations in Persian, South Asian and Southeast Asian branches of research, and shared understandings from their awareness of localised conditions of adapting and using lithographic presses, the qualities of how specific Asian scripts were rendered, all in relation to the topic of lithography. Attendees that participated in Early lithography around the world included Emily Müller, paper conservator and Andrew W. Mellon Fellow at the Metropolitan Museum of Art, New York; Jasdip Singh Dhillon, book conservator with the Oxford Conservation Consortium with a keen interest in Sikh lithographed books; Aardarsh Rajan, Masters by Research candidate and type designer; Suman Bhandary, Masters in Typeface Design candidate; Sallie Morris, the Typography Department’s Collections Research Assistant; Professor Fiona Ross, a type designer and historian; and Vaibhav Singh, typographer, typeface designer, and British Academy Postdoctoral Fellow at the University of Reading.
Our department has a history of putting users at the centre of the design process. James Lloyd has been speaking to school leavers about what this means in terms of the kind of people we're looking for when we review their applications.
An exhibition exploring the design process of the most significant twentieth-century Persian newspaper types.
An exhibition of books about exploring, trekking and travelling in Central Asia, next to the Reading Room.
The NYC-based Type Directors Club will hold a one-day conference with the theme 'Type: More _ than Ever' to celebrate the importance of type and typography in global culture. The keynote speaker for the event will be Fiona Ross, who is also a TDC Medal recipient.
'It's not all about fonts!' At a special Baseline Shift session, our former Head of Department stressed the importance of design for reading.