“Facing the World: Towards a Global History of Non-Latin Type Design” is a special issue of Philological Encounters, edited by Thomas S. Mullaney of Stanford University, and published by Brill.
The Department of Typography & Graphic Communication warmly invites prospective MA applicants to visit us for a postgraduate open day. The open day will be held in the Department on Thursday 28 February 2019 from 10.15–14.00. It’s a fantastic opportunity to find out more about the specialist postgraduate study routes we offer through exploring the work of past and present students and talking to our subject experts in Book Design, Communication Design, Creative Enterprise, Information Design, and Typeface Design. We’re also planning some talks that incorporate highlights from our world-renowned Collections and give you a taste of teaching and research at Reading.
We look forward to sharing with you exciting developments about how we’ve refreshed our postgraduate taught programmes to build a stronger, integrated typographic foundation for research and practice across all programmes and specialist pathways. We’ve introduced a new general Communication Design pathway to complement our well-known established pathways in Book Design, Information Design and Typeface Design. These four specialist pathways are all offered as part of our newly renamed MA Communication Design – the ideal degree for anyone wishing to develop their professional practice within a world-class research environment.
In addition to the practice-intensive pathways for the MA Communication Design programme, we also offer a multidisciplinary Creative Enterprise programme and two research-intensive programmes. Our MA Creative Enterprise is designed for individuals who wish to combine their study of research and practice in Communication Design with studies of management and law for the creative sector. Our MA Research Typography & Graphic Communication is the ideal route to prepare you for independent research and doctoral study and our MRes Typeface Design is a bespoke route for experienced, practicing typeface designers who want to develop a deeper understanding of the historical and theoretical aspects of their field.
To register your interest, please email Victoria Gifford – firstname.lastname@example.org.
Week eight of Baseline Shift’s Wednesday morning sessions marks a very exciting occasion. A visit from Milly Longbottom and Will Trickey, alumni of our department who graduated from Graphic Communication and Typography in 2016 and who now work at IBM.
Originally associated with being instrumental in inventing the computer, IBM is no longer focussed on physical product design. Instead, they take on service-based, user-friendly products for blue chip clients across the world. IBM designers like Milly and Will therefore produce and work on a lot of digital projects.
IBM iX is IBM’s client-facing design agency, working to produce products sold or used under the name of the client. Members work directly with their clients to follow a very user-centric design approach. Many of their clients are very large: well known companies including IKEA, Selfridges, Ford, the National Grid and Nationwide.
Milly and Will went straight into the company after graduating, starting off by undertaking a three week course in basic client-interaction skills. This was completed at an IBM office in Winchester and involved learning about business, design thinking and technology. They then worked together on a huge project conducted for BP, illustrating the true extent of the big-names they are involved with. It’s a sign of how big company’s, with the right recruitment and training in place, can let new starters loose on important projects at a surprisingly early stage in their careers.
In the loop
The design carried out by IBM iX is very people-centric. The client and the user’s needs are considered at every step of the creative journey to ensure that the end product result is suitable and usable. Milly and Will also explained the ‘design loop’ strategy that they use, based on the double diamond diagram common in many design thinking implementations. This involves an infinity loop with different points representing each stage in the continuous design process. These stages are exploring and observing users, reflecting in order to bring ideas together and finally making something that solves the problem in hand.
Connecting with Reading students
As well as informing students about their design process and life at IBM, Milly and Will also advertised the unique design opportunities available in the company. These include summer internships, year placements and graduate design consultant schemes (the path in which Will and Milly both entered the company on). Having placed a huge emphasis on the social aspect and the friendliness of everybody on the design team, these opportunities seem very attractive to students on the Typography and Graphic Communication course, which Milly and Will believe provides a brilliant foundation for a route into IBM.
‘The IBM session on Wednesday was a fantastic insight into the world of working in digital design, which drew on concepts of design approaches learnt in first year. It provided a detailed and exciting approach to what it would be like working in digital design, particularly at IBM’ – Aanand, Part 2
Workshopping: the design process
A project at IBM usually begins with a one to two day long workshop session with the client. Milly and Will took us through a condensed version of their journey, giving us an insight into how a highly successful agency functions, in the space of an hour.
This workshop emphasised the importance of what is known as ‘design thinking’ in producing a product which is functional and successful for the intended user. This involves ensuring that the user is at the heart of every product that is designed. Milly and Will emphasised the importance of this as being the designer, you are not the intended user of the product being designed. It is therefore essential to gain as much information as possible from the perspective of the user, who knows the problem and has specific needs which must be met.
Students were proposed the problem of trying to find accommodation to rent at university and used what is called an ‘Empathy Map’ to think the personality and situational traits of different types of people who could potentially be posed with this problem. This ‘user’ or ‘persona’ was placed in the middle of the empathy map and students were tasked with recording what the user might be thinking, saying, doing and feeling in relation to their situation or problem. These factors including actions, quotes, expectations, reactions and values of the user were presented on post it notes and placed in the correct section in order to create a massive ‘mind map’ of ideas and thoughts related to the problem and user. After this, post it notes were grouped together into themes and can be rearranged into a user journey. Stickers were used in a ‘dot voting’ process to arrive at a key user-centred plan for a problem solving strategy.
Portfolio review sessions
A few keen students were given the opportunity to show their portfolios to Will and Milly in order to receive feedback from a designer in the industry.
‘Both Milly and Will offered an exciting opportunity for us to take part in half hour workshops, where they critiqued and advised us on our portfolios and CVs. I found to it so useful. Overall, this session was of great value and has confirmed the fact I am on the right tracks in the design and content of my portfolio. It also inspired me into wanting to undertake a placement in digital design’ – Aanand, Part 2
‘I felt like the portfolio review gave me a general overview of what employers are expecting. Milly gave me a lot of constructive feedback and I now feel more confident about applying to summer internships’ – Sophia, Part 2
One of the strengths of the course at Reading is the quantity and quality of professional people we get exposed to, whether it’s printers, designers or creatives in other fields. For Milly and Will to give up their time to share their knowledge and time with us felt amazing. It’s also really positive to see how Reading graduates are valued by their employers, and can forge successful careers so soon after graduation.
David Pearson began his talk to Typography students at the University of Reading citing three things that sum up what really interest him – the first and last having a direct impact on his work as a prolific, award-winning book cover designer. The second he admits, possibly less so…
Pearson recalled his time as a student – the intimidation he felt from who he described as the “gatekeepers” of typography and this impenetrable discipline he initially struggled to work within. Grasping the differing personalities of typefaces was what helped him to understand how they could be best used; the other details seemed to simply “fall away”. The essence and character of type forms is a core tenet of Pearson’s work and is a huge part of why he has been so successful in capturing just the right tone for hundreds of different classic book titles.
Pearson places emphasis on using type as the main image of a design, hence his company name Type as Image. To give an example, one design he enthusiastically cited was his cover for The Gentle Author’s, Cries of London. The ‘C’ is personified as if literally crying out, and the punctuation bursts through the decorative border, bringing a joyful exuberance to the composition.
Throughout his talk, it was clear David wanted to highlight the need to not shy away from collaboration in any facet of design. He described with fondness the “dignity” that the illustrations by Lucinda Rogers gave to Baddeley Brothers, highlighting how valuable the uniqueness of her style was. He then went on to speak about his long-standing partnership with Paul Barnes, a well-regarded type designer (and Reading alumnus) and co-founder of Commercial Type. David’s work often involves manipulating type in extravagant ways, and it was revealing that he often asks for Paul’s ‘permission’ for his more extreme morphing of letterforms.
As designers, there is a risk that we stop sharing our skills and become inwardly focused, quickly becoming disillusioned and frustrated with the work we are creating. By collaborating and sharing our knowledge and skills, we can avoid the common and insidious pitfalls of tropism that David himself confessed to sometimes succumbing to.
The best design, Pearson believes, often comes from an open and honest dialogue not just between designers but also with clients. It came as a surprise when David told us that many of the books he is commissioned to design covers for haven’t even been written yet, thus a dialogue with the author is crucial to understanding what message the book has. This healthy relationship Pearson has built with authors and type designers over the years has given him a greater artistic licence to “bastardise” many existing typefaces and to give them a more appropriate voice.
The biggest takeaway that students had was David’s naked enthusiasm and excitement about the work he is doing. It was extremely refreshing to hear someone talk with such glee about their practice. When you see David’s work and hear him speak about it, it is evident he is a perfect example of someone who is passionate about their career and loves the work they do.
In today’s Baseline shift event, research division lead Alison Black, along with other members of staff including, Jeanne Louise Moys, Sue Walker, Gerry Leonidas and Eric Kindel, discussed and showcased a range of different research projects that they have worked on throughout their careers, as well as discussing current and ongoing projects. For Part 1 students, this was a first experience of hearing tutors speak about their personal research interests. Reading is a research-intensive university, and our Department is ranked 1st in the last UK Research Assessment Exercise for the quality of its design research. For many of us, this stat played a part in why we chose to study here.
Jeanne-Louise Moy’s interest in research began in the 1990s whilst working as a designer in South Africa where, at the time, there were many design projects of national importance – for example, redesigning the flag, coat of arms and currency. Companies began redesigning their identities to align with the new democracy, and designers began to experiment and explore the possibilities of a new graphic language.
From this point, Jeanne-Louise formed an interest in how “good” newspaper designs, that embodied appropriate design theory, contradicted the emerging possibilities of newer publications, and how graphic language can transform across different platforms. With this in mind, Jeanne-Louise began research on the subject of how typographic presentation influences readers’ judgements. Her approach was to translate the complexity of the wide range of possible variations into artefacts, in order to undergo user testing. This research indicated that people tend to form consistent judgments of documents using similar levels of typographic differentiation, even when the typefaces are kept consistent.
Other research projects that Jeanne-Louise has been involved with include working alongside health researchers from the University of Aberdeen as well as working with the Cabinet Office, analysing complex legal documents and how these work as both printed artifacts as well as on emerging digital platforms. More recently, she has been looking at typographic differentiation within digital learning environments, and testing in real environments using real content.
Alison Black described her research approach in 5 fundamental tasks:
- Examination of small parts of large problems
- Taking a user-centred approach to problem solving
- Producing communications that support end users
- Evaluation to confirm that this support has been realised
- Developing awareness of information design and discourse about its process
As an example of her work in action, Alison explained the process and execution of a research project that involved designing soil moisture forecasts for farmers in Northern Ghana. This project was carried out by Alison and Matthew Lickiss alongside a research team in the Meteorology Department at the University, who produce climate and weather models from which forecasts can be made. Alison and Matthew’s task was to find out how to make this data interpretable by a range of Ghanaian farmers, some of which were non-readers. This involved user testing with the farmers of northern Ghana to arrive at largely pictorial displays of data . The final product used illustration and limited text, which made it clear and easy to use.
Another research project that Alison discussed was providing information to support carers of people with dementia. Making information manageable, usable and appropriate was the main goal. Alison explained that she began her research by working in discussion groups with carers, which revealed that the had difficulties using the information they had received, with one saying that he kept all the information in a big carrier bag, but never used it. The next step was to make prototypes for user testing and gathering feedback to create a final handbook with clear and visually appealing information about dementia and how to care for for people with the condition.
Recently, Alison also completed a research project that explored the presentation of health claims on food packaging. For this project she worked alongside Lauren Quinn, a part 3 student, who completed this research as part of The Undergraduate Research Opportunities Programme. They aimed to find out whether or not the heavily regulated health claims influenced the buyer’s decision or whether the packaging design was of more importance. They designed three different variations of packaging, each time varying to graphic style and also prominence of health claim and completed user testing in order to collect data. Overall it appeared that the imagery and design of the pack had a larger impact and was more influential than the health claims themselves. After this event I spoke with Lauren Quinn (pictured below, presenting a poster about the project), who explained how beneficial this project was, and how she learnt a lot of specific research techniques such as collecting qualitative data efficiently.
“I would definitely recommend getting involved in a research project such as this one, as it was a really good experience and boosts independent learning.”
Sue Walker has a particular interest in children’s books and how information is presented to young children. However, today she discussed a research project that focussed on how you can use an indoor environment to engage people with important topics, such as antimicrobial resistance, titled “IDAPPS – Information design and architecture in persuasive pharmacy space: combating AMR”. The team for this project included people from several different departments in the University including Architecture, Pharmacy and external partners, too. The aims of the project were to reduce antibiotic misuse which could, in the long term, lead to our being unable to use antibiotics to combat microbial infections. With the focus being on community pharmacies, they worked with the Day Lewis pharmacy in Woodley to develop and test design proposals. As Sue has a passion for using archives for research purposes, the Departments collection of Isotype posters detailing how to fight tuberculosis became the starting point for this project, and she began by looking at other examples of Isotype work from the 1920s.
Five different external design teams proposed solutions to the communication problem and Sue highlighted two initial proposals; the first being life-size cutouts of illustrated people which carried messages about antibiotics and were displayed in and around the pharmacy. The second solution were rotating cubes, which each told a different story about resistance when you twisted them. The cubes were accompanied by other communication tools, including knitted bugs, which were inspired by the large shelf of knitting wool displayed in this particular pharmacy. Some of these bugs talk and explain different information about antimicrobial resistance, whilst one of the bugs is made using a thermochromic wool and therefore it changes colour to show a good bug changing into a bad bug. Sue stated that this was a fairly risky and challenging project, involving people from different disciplines, and a lot of information to pull together in a very short time, in order to create a successful outcome.
Among other roles, Gerry Leonidas is the Programme Director for MA Typeface Design, and Enterprise Coordinator for the School of Arts & Communication Design. He began by explaining how much of his research involves typeface design, which he describes and “a social enterprise”.
Gerry took us through some of the history of typeface design and the research that he has done alongside colleagues. He described Fiona Ross’s current project, looking at the role of women in typeface design history. He explained how these women changed the world of communication, but their names were unfortunately never recorded.
Further discussion was made on how there are different factors that affect whether a typeface work well, and what criteria we can use to judge them. Fonts are to be looked at in the context of their use, and analysed based on their appropriateness.
Eric Kindel described always having had a love of graphic design and being interested in how information is presented graphically. In the early years of his research career, he also became interested in editorial design due to his passion for writing and history.
The three research pursuits he spoke about were: print effects, graphic information and stencils (which he claimed to be one of his “nerdy” devotions). Eric showed us some of his early writing on print effects in an article about moirè effects in print, in Eye Magazine.
In terms of graphic information, Eric has worked with other researchers in the department on the Isotype Revisited project. Some of this research can be seen the isotyperevisited.org website and a number of different elements came out of the research, including an exhibition at the in Victoria & Albert Museum. Another follow on from this project is the current Picturing science for children, which can be followed on its vibrant twitter account.
Eric has conducted detailed research into the use of stencils. He has been involved in reconstructing all the stencil maker’s tools and desks for stencilling and in order to understand the techniques that have been used historical to create stencil letters. He worked collaboratively with typeface historian, James Mosley, and typeface designer, Fred Smeijers, in this historical reconstruction project. Eric explained how Fred Smeijers made the stencils and Eric used them, as a stenciller would have done, for his research. He showed how combining letter stencils made in two halves make the letter look like it hasn’t been stencilled at all. He also talked about Benjamin Franklin’s stencil set, and how he has traced the history of the Parisian stencil maker, Jean Gabriel Bery, who made it. Another element of this stencil research includes gathering examples of stencils used for advertisements on walls in 19th century, France. This practice arose to circumvent taxation on paper posters. The research topic is an ongoing one, with a plan for publication sometime soon. Updates to follow on typography.network!
Overall, this baseline shift event gave us a great insight into the extensive range of research projects that happen within our department, and it was really interesting to hear about all the different topic areas that staff members have been focussing on. Here is what some of the students who attended the talk had to say about their experience:
“I was quite absorbed by Eric’s research on stencils in terms of seeing it as an alternative to printing at the time and its potential commercial use …but what drew me in most was how the stencils were made. That is what really made me think “Wow this is cool I would love to have done this!””
– Pedro Martins, Part 3
“I thought it was really interesting finding out what research goes on in the Department. I see research staff around all the time but never knew exactly what research topics they are interested in and how they carry out their research. The research that Sue spoke about was really interesting. I also enjoyed hearing about some of the topics that PhD students are working on from their supervisors, as there are so many different routes to go down in design research”
– Katy Smith, Part 2
The inaugural symposium of the Creative Chinese Character Industry took place at the Beijing Convention Center on 3 and 4 November. The symposium brought together speakers from different areas of research and professional practice relating to the Chinese script: linguistics, Sinology, typeface design, publishing, and calligraphy. The symposium concluded with the preparatory work for the founding of the Chinese Character League, an interdisciplinary body bringing together organisations and agencies, including the Chinese Character Museum in Anyang.
In addition to speaking at the Symposium and being invited to act as guide for the CCL, Gerry Leonidas had the opportunity to update plans for a project, supported by the University of Reading and ATypI, of publishing key typography texts in Chinese. The first title in the series, Jan Middendorp’s Shaping Text, is nearly out of print already; below, Gerry holds the proof edition of the second title, How to create typefaces by Cristobal Henestrosa, Laura Meseguer, and José Scaglione. The series extends to twelve titles, with a schedule of publishing two titles per year.
Our second Baseline Shift session was run by Camara Dick, Seniz Husseyin, Malaika Johnson and Martha Macri, members of a group of students who have been working collaboratively over the past year to promote new perspectives on diversity in creative disciplines. Former students of the Department, Ziana Azariah, Fay Biggs and Lily Brown were also part of the team. The “I am, we are” team have been helping reshape some of our teaching, including building an entirely new module for Part 3 students. They’ve also captured a snapshot of key diversity topics in creative industries through the writing, design, and publication of a zine.
The team all share different experiences and opinions of diversity within design, motivating them to come together with the hope of creating changes they can be proud of. They’re challenging the dominant western canon within our discipline, seeking to counterbalance this tradition by broadening our curriculum and introducing new perspectives. As well as opening up new career opportunities, another motivation is to evolve a stronger sense of community within the department and hopefully encourage students to both find their individual voice and move beyond our ‘cultural comfort zones.’
Building a module
The new Part 3 module, Design for Change, was co-designed between the team and academic staff in order to promote the critical engagement of social issues and the exploration of these through a practical self-selected design brief. This module encourages students to engage with a range of current debates and perspectives on diversity, inclusion and global perspectives in design. Students studying on the module produce a practical project that aims to inspire change by engaging users in a cause.
Engaging students of the future
In order to create awareness and share ideas, the team ran an activity on undergraduate applicant days in which prospective students would share their interests within design. These were then displayed on a series of polaroid-style designs in order to show the vast range of design opinions and passions within the group of applicants. The idea was to start building a community among applicants even before they are offered a place to study here, but also to stress that we welcome people who might define ‘design’ in a range of different ways. In the future, the team plan to use this polaroid scheme with all students, in order to create a discussion about respective cultures and different inspirations.
Beyond Typography undergraduates
Whilst the team are all students within the Department of Typography and Graphic Communication, they have worked with a variety of groups and individuals in order to achieve their outcomes. They interviewed staff and students from all three departments in the School of Arts & Communication Design, as well as graduates and other professionals with links to the University. The insights gained form the basis of their ‘I am, we are …’ zine.
Future goals include:
- encouraging students across the School to embrace their diversity and explore different perspectives within their own creative practices
- diversifying the range of jobs available within the department’s real jobs scheme, with one aim being to reach out to Reading’s refugee community to provide design services with direct benefits to individuals, such as CV formatting.
Following receiving funding from the University’s Partnerships in Learning and Teaching scheme, the team decided to publish a zine in order to spread awareness of diversity and inclusion in the creative sector. To showcase a broad range of practices, they decided to include content from members across the School as well as graduates. After interviewing students and practitioners about their work, the team began to put together and design the zine. With budget and time restrictions in mind, the team then began to make decisions including the grid system, format and paper stock. They chose an A5 format as their aim was to print a lot of copies, and this allowed that to be possible whilst sticking within their budget. As there were multiple people working on the zine, it was important to design a grid system with this in mind so that the final pages were consistent and cohesive. In terms of paper stock, they chose a matte finish as they wanted it to stand out against a ‘typical brochure.’
The team said they felt incredibly satisfied and proud with the final outcome, receiving lots of feedback about how inspirational they, and the zine, were. In the future, they aim to create a bigger and better zine, by including more content and space for them to be able to finesse their typography. They also hope to develop a theme for the next zine and extend its publication across print and digital channels so that they can engage a wider audience with diversity in design.
After their Baseline Shift presentation, the team gained a lot of interest from new and current students looking to get involved. Growing the team will allow for the project to continue and evolve.
This talk opened up the discussion of diversity within the department and allowed attendees to gain insight and become involved with how we can shape and develop this project for future students.
“As someone who never really second guessed the lack of diversity in the department teaching and the discipline of Graphic Design as a whole, the talk gave an interesting viewpoint on to this, shining light on the issue. The Zine itself was a great publication, and I hope it continues to be produced, getting better and better each year. I’d also like for the department to showcase speakers from different backgrounds to bring this idea of diversity forward into all aspects of our learning, as I think we have a lot to learn from each other!” – Laura Marshall, Part 3
As a student currently taking the new ‘Design for Change’ module I found it incredibly interesting to hear their thoughts and aims for the module, and have been really enjoying the discussion, debates and different perspectives within the seminars. After the talk, I spoke to other students who had attended and discovered they found it equally fascinating and hope to get involved in future projects.
Our first Baseline shift Wednesday morning session kicked off this week and Typography students were lucky enough to receive a visit from two members of the design department at Dorling Kindersley’s Knowledge team. Kit Lane, who is alumna of our department, and Karen Self, art director at DK, gave a very interesting talk covering many different aspects of the company, as well as promoting the varied internships they offer to students.
‘It was very useful to have industry professionals come and talk to us so early in the course. It was good to know about internships I could apply for sometime in the future’ – Ruth Bartley, Part 1
The DK difference
DK offered students an insight into the exciting world of publishing, from their own unique perspective as market leaders across a range of areas. They covered their practical design process as well as the design thinking that goes along with everything they do, emphasising the importance of considering the consumer (not just the reader) at every stage. The lasting impression was that DK operates very differently to many other competitor publishing companies. This was exemplified by the fact that the majority of design is done in-house, with comparatively huge amounts of time (often four or five months) are spent designing each book, spread by spread, as opposed to flowing text into a prebuilt specification.
Students were given the opportunity to take part in a workshop led by Kit and Karen in the afternoon. This involved generating ideas for a new book named ‘Urban Detective’. Students worked through a design process starting with some initial research into the theme before sketching out rough ideas for book covers and inside spread layouts.
These ideas were then refined through peer discussion and input from Kit, resulting in a handful of clear concepts. A group crit let everyone to receive feedback on their work. Throughout the process, students kept in mind the audience and aim of the book, in true DK style.
‘I enjoyed the workshop, as it made me consider more about book design, than I might have otherwise considered on my current project’ – Alex Ganczarski, Part 1
‘I really enjoyed the workshop and am taking away a greater understanding of how to plan my ideas and concepts, as well as how the 2nd and 3rd-year students plan and execute their work. It’ll help me a lot over the next 3 years of the course’ – Rory Tellam, Part 1
Portfolio reviews and interviews
Some students also took the opportunity of having a mock interview and portfolio review with Karen. This gave a feel of what an interview is like in a professional context, preparing them for heading out into the world of design beyond university.
‘Karen made the experience calm and professional, offering great feedback on how to improve my portfolio’ – Laura Marshall, Part 3
‘It helped me to understand the process and content of a professional interview in a relaxed and casual context’ – Fay Rayner, Part 3
‘I am so glad I took on this opportunity. It has made me feel much more confident and prepared for future interviews’ – Jacob Hawkins, Part 3
Overall, our visit from DK was a big success. Around 65 Typography students were offered an insight into what life is like in the graphic design and publishing industry, which will be very useful when considering career paths later on – and much sooner for our students in Part Three!
A new AHRC-funded project begins today. Transforming science for young people: Marie Neurath and Isotype books for children aims to find new audiences for the approach to science communication taken by Marie Neurath in her books for children, produced in the 1940s and 1950s. The illustrations in these books, in series such as the ‘Wonder world of nature’ and ‘Wonders of the modern world’, were innovative in their approach to the design of complex information.
Following on from Isotype revisited, the project will make extensive use of the materials in the Otto and Marie Neurath Isotype Collection, to identify approaches to science communication relevant to teaching in primary schools today. We will work with teachers and teacher educators as part of the design process to ensure that their ideas and needs are taken into account. Pilot schools will be involved in evaluating the effectiveness of the resources to ensure they are relevant and effective.
An exhibition at House of Illustration in London in summer 2019, Marie Neurath: Picturing Science, will display examples of Marie Neurath’s illustrations from the children’s books, as well as sketches, drawings and correspondence that show the iterative nature of the design process.
Project people and partners
Prof Sue Walker and Prof Eric Kindel, Department of Typography & Graphic Communication, University of Reading
Dr Andrew Happle, Institute of Education, University of Reading
Dr Emma Minns (Project Officer)
Our use of the Lettering, Printing and Graphic Design Collections in the Typography Department, and our distinctive approach to collections-based research, was exceptionally well demonstrated at the 2018 ATypI conference in Antwerp. We enjoyed top quality presentations by Typography staff and PhD students. In a conference with over 550 international delegates, who repeatedly mentioned the ‘Reading’ influence in conversations and comments, it was humbling to realise just how influential and significant our work with collections has been in developing new knowledge about type and typography, and in inspiring people to undertake research.
AHRC-funded Design Star PhD students
Recently graduated PhD student
Emanuela Conidi: ‘Uncovering Arabic type history, informing design‘