Laura Marshall, one of our Part 3 BA Graphic Communication students, presented her dissertation research at the Reading Braillists meeting.
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.
Adobe’s “Hidden Treasures” programme kicks off the typographic commemoration of the forthcoming centenary of the Bauhaus school by releasing four revivals based on lettering by Bauhaus staff. Drawing on original material in the archives of the Bauhaus Dessau Foundation, a group of current typeface design students were selected to work on digitising the original lettering, extrapolating the missing letterforms and characters to fill out the required character set, and adapt the designs for digital formats. The fast-paced project was led and supervised by Ferdinand Ulrich and Erik Spiekermann, and included in-person meetings in Berlin and Dessau, online collaboration, and a launch event in New York City.
Each of the four typefaces were revived by a student from a typeface design course: Hidetaka Yamasaki, a current MA Typeface Design student, worked on lettering by Carl Marx; Céline Hurka from the KABK on letters by Alfred Arndt; Luca Pellegrini from the ECAL on lettering by Xanti Schawinsky; Elia Preuss from HGB Leipzig worked on letters by Reinhold Rossig; and Flavia Zimbardi on letters by Joost Schmidt. The typefaces are released gradually through Typekit’s subscription service to professionals using Adobe’s dominant suite of applications, and are a superb example of archival material inspiring contemporary design.
Had so much fun on the @typekit panel last night, where @hidetaka_yamasaki, @flaviazim, @liukke and Céline Hurka presented their typefaces (resurrections of Bauhaus lettering) and received much applause – totally deserved! Thanks to @frankrolf for the fab moderation of the panel! #typedesign #type #digitaltype #bauhaus @bauhaus_dessau_foundation @adobetype @p98a @coopertype @uortypography @kabkdesign @ecal_ch @hgbleipzig
Calling small design practices, architects, information designers and pharmacists
Are you interested in how the design of space and information impacts on behavior and consumer choice? Do you want to work in public health and wellbeing? Do you want to develop research in practice? Are you up for the challenge of interdisciplinary work in the community?
About our research project
How can architectural and information design help in the fight against anti-microbial resistance (AMR)?
Using principles of user-centred design, we are working with pharmacists and pharmacy workers to consider how to ‘improve the knowledge and understanding of antimicrobial resistance’. The AHRC-funded project ‘Information Design and Architecture in Persuasive Pharmacy Space: combating AMR’ (IDAPPS) aims to stimulate ideas for an engaging, inspirational, didactic information space to raise awareness of the dangers of anti-microbial resistance in a community pharmacy.
One of our research outputs is a competition and this is where we’d like your help. Competition teams will begin designing in our Ideas Lab, supported by a team of academics from information design, architecture, pharmacy, and human factors, as well as design and pharmacy practitioners.
Our pharmacy partner is Day Lewis and the winning design will be installed in a Day Lewis pharmacy for evaluation. Interested?
Get more information and how to enter a team for the competition here.
Typography is very pleased to announce an exciting new Goodwill Partnership between the Centre for Ephemera Studies (one of our research centres) and the John Johnson Collection at the Bodleian Library (University of Oxford). Commenting on this new initiative, Julie Anne Lambert, Librarian of the John Johnson Collection said:
The John Johnson Collection is delighted to partner the Centre for Ephemera Studies at the University of Reading. Our joint aim is to further the academic and popular potential of ephemera to cast light on the everyday lives of our forebears through the documents they themselves saw and handled. We are particularly excited to work with the Department of Typography & Graphic Communication in exploring the materiality of ephemera in their (often innovative) design and printing.
The Partnership will include working together on exhibitions, symposia, funding applications, projects with postgraduate and undergraduate students, and sharing of expertise on cataloguing, conservation, and print identification and conservation. It will reinforce the potential of ephemera to engage academics from a wide range of disciplines as well as the public.
Professor Roberta Gilchrist, Research Dean for Heritage and Creativity at Reading supports the collaboration:
The University of Reading warmly welcomes the new partnership between the Centre for Ephemera Studies and the Bodleian Library, John Johnson Collection. The collaboration will highlight the rich potential of ephemera to illuminate the history of everyday life and to inspire new approaches to printing and design.
The examples below are from the Rickards Collection and the John Johnson Collection.
The Department has made a long-term loan of Isotype work to the Science Museum, London. The loans are featured in the museum’s new Mathematics gallery, designed by Zaha Hadid Architects, which opened to the public today (8 December). Following a visit to the Isotype Collection, Science Museum curator David Rooney chose examples of Isotype that convey simply and directly the underlying application of mathematics to the production of pictorial statistics. Captions written for the items note Marie Neurath’s early training as a mathematician.
Thank you to all our prospective applicants and their parents who visited the Department on Friday and Saturday as part of the University’s Open Days. We hope you enjoyed the displays and workshops as much as we did.
If you didn’t have enough time to view the BA Graphic Communication final display, you can still see some display highlights on the show website.
If you want more information about studying with us, please email our departmental admissions team (Lauren, James and Jeanne-Louise) at firstname.lastname@example.org.
Our next round of Open Days will be in October. Once again, we’ll be inking up the presses so that visitors can print a memento of their visit and get a taste of our hands-on experiential learning approach. There will be also be new digital and print displays of student work to view. For more information about open days at Reading, click here.
Soon after the conclusion of a successful visit by students from CAFA to Typography in 2015, we commenced working on a reciprocal visit to Beijing. As it happened, several strands of activity came together to make this an exceptionally productive visit. A short report follows below; the local organisers, led by CAFA teacher Liu Zhao, recorded all presentations for translation and reposting on the Chinese social networks, and microblogged almost every minute of the trip to a jaw-droppingly numerous online audience.
Opening the visit with a more formal occasion, Gerry Leonidas and José Scaglione (Reading alumnus and ATypI president) took part in the judging of the 8th Founder Type Design Competition. The event, held every two years, included for the first time Latin typefaces by Chinese designers. The next day, the winners were announced in the National Centre of the Performing Arts (the “Egg”), together with the opening of the TDC61 exhibition, the Chinese leg of the global tour of the annual design competition; and the opening of the “Chinese Type Modern 1919–1955” exhibition with material from the archives of Founder Electronics on the transition of Chinese type-making across technologies – with clear influence by Reading’s TDi 2015 course, in which Founder staff participated in.
Font Forum conference
The exhibition and competition awards served as the opening events for the two-day Font Forum, a conference on typeface design with speakers from China, Japan, and Europe, to packed auditoria. At the end of each day lively panel discussions demonstrated the interest of the student and professional audience, and the desire for stronger engagement with the international typographic community. (In the sidelines of the conference, plans were hatched to coordinate a BA module on typeface design between Reading and CAFA in 2016–17.)
The main part of the visit was taken over by a workshop on typeface design at CAFA. The interest in Latin typeface design is considerable, and the skills of many students impressive. This is a sign of the gradual globalisation of Chinese design education, and the demands by the local professional employers for skills that can serve markets across language and script regions. Although the workshop was primarily focused on typeface design, there was great interest in typographic design, and especially for mobile platforms.
Centre for Chinese Font Design and Research
Two visits at the Centre for Chinese Font Design and Research, hosted in the offices of Founder Electronics, focused on design issues in fonts for Chinese, design tools and processes, and professional training for multi-script design. The second of the visits had very concrete aims, with Gerry orchestrating the localisation of Glyphs (the key font design application) into Simplified Chinese, to enable designers in China to experiment with new workflows.
CITIC publisher agreement
Starting in TDi 2015, Gerry Leonidas guided Liu Zhao to compile a list of books on typography and typeface design in English to be translated into Chinese by CITIC, one of the most prominent publishers in the country. The project is progressing well with many rights already secured, and schedules for the translations and launches in place. Gerry’s involvement in the curation of the series provides the opportunity for the University’s approach to typographic scholarship to be transplanted in a new market in a unique manner. This is part of a wider collaboration between the University, CITIC, and CAFA, with the aim of building up typeface design education in China.
Despite the timing on a Sunday evening, over 140 designers from Dongdao, one of the largest design agencies in China, turned up to listen to José and Gerry talk about typeface design solutions and studies. The presentations were followed by Q&A sessions and interviews, which will be posted on Chinese social media with subtitles.
p.s. ATypI in Beijing?
Seeing in person the typographically maturing environment in Beijing and particularly the concretely supportive attitude in CAFA convinced José and Gerry (president and vice-president of ATypI respectively) of the importance and timeliness of bringing the annual conference of the type design community to mainland China. They outlined the key parameters of a proposal with Dean Wang Min and Liu Zhao, and explored timing options. Look for announcements through ATypI!
Professor James Mosley, an acute observer of letterforms in sensitive national settings, has published a short note on recent work completed for Tate Britain by Reading alumnus John Morgan and his studio.
Typography alumna, Caroline Webb, has designed and installed a new Papal inscription for Westminster Cathedral, to commemorate the visit of Pope Benedict in 2010.
The 7 foot long inscription is made of one piece of Carrara Marble inlayed with letters of green and red Porphery and lies in the main entrance to the Cathedral.
The marble inlay was done by Pietra Dura craftsman Thomas Greenaway.The inscription took 2 years to design and produce, and a week to fix in the floor. The commission was technically challenging in every way; Caroline will be writing a full article to document its creation.