We are delighted to be able to point you to a video of one of a series of seminars for masters students and postgraduate researchers in the Department of Typography & Graphic Communication. The seminars, covering a range of topics, are given during the academic year by Professor Emeritus Michael Twyman.
This seminar focuses on the design of forms and its history, and draws together the Department’s research interests both in the history of printing and graphic communication and in the design of information for its users. The seminar demonstrates the use of material from collections and archives, which has been a key part of the Department’s approach to teaching and research since the 1970s.
We are grateful to the Friends of the University for funding the preparation of this recording.
We were delighted to see alumna Coralie Bickford-Smith receive an Honorary doctorate at last week’s graduation.
When she left Reading, Coralie worked for publishers on a freelance basis, and after a short stint with Quadrille Publishing, she went on to join Penguin where she made a name for herself as a highly-respected, award-winning book cover designer.
In her work at Penguin, Coralie has shown particular skill in creating covers for series of books, such as Penguin Pocket Classics, the Cloth-bound Classics and the Gothic Horror. Her skill lies in combining distinctive use of images and patterns, colours, and production processes that derive from understanding of traditional printing techniques. Through her work she has revived the tradition of the decorated cloth-bound book, but such that it has a modern-day feel.
Coralie has said that William Morris and William Blake have been inspired her work. However, it is William Blake – with his immersive and integrative approach to book making – that is best reflected in Coralie’s wonderful book that she authored and illustrated: The Fox and the Star. This compelling story and remarkable illustrations is thoroughly engaging for the reader and demonstrates book design skill at the highest level. For this work has won numerous awards including Waterstones Book of the Year in 2015 and The Academy of British Book Design prize in 2016.
An exhibition in the Department 12 June – 14 July 2017
Emigre magazine, co-founded in California in 1984 by Rudy VanderLans, was a provocative and highly adventurous fusion of self-publishing, critical writing and experimental typography. This exhibition investigates a key period in the development of graphic design as a form of authorship and shows how Emigre’s page designs and typefaces embodied new thinking about the designer’s role in communication.
With an initial print run of 3,000–5,000 copies, the magazine was supported by a design studio, Emigre Graphics, and by a digital type foundry led by VanderLans’ partner Zuzana Licko. Emigre published 69 issues in a range of formats, from tabloid to paperback book, before closing in 2005, and it was probably the most admired, influential and criticised design magazine of its era.
In the 1990s, the idea that graphic design could be a form of authorship was the focus of intense debate among designers. VanderLans created a vital forum for discussion during a period of rapid change and Emigre’s design and content inspired an international network of visual communicators. The magazine was an era-defining example of entrepreneurial design authorship, which still has lessons for self-publishers today, and a platform where designers could explore the relationship of writing and design.
The exhibition, co-curated by MA Book Design student Francisca Monteiro and Prof. Rick Poynor, draws from the University of Reading’s Special Collections and Rick’s personal collection. The display is divided into sections that reflect the range of Emigre’s activities:
Rudy VanderLans as editor
The Emigre type foundry led by Zuzana Licko
VanderLans as a graphic author
The Emigre Music record label Emigre as a space for collaborative authorship for designers and writers Emigre considered in context
‘Cassandre’s “Étoile du Nord” railway poster has become a paradigm of the Good Design to which we all aspire. But do we ever really look at this poster? If designing is about deciding, and good design about good decisions, then critical history can illuminate its exemplary character: the concentrated intelligence in its expression of the north star in word and image; in its mathematical structure; in its use of colour and the construction of its lettering. It is also a work of its time: demonstrably pre-photographic in its cubistic technique, its tonal gradation achieved by splatter and its colour by selected, not process colours.’
Richard Hollis, ‘Have you ever really looked at this poster?’ Eye magazine, vol. 4, no. 13, 1994
The ‘Étoile du Nord’ poster (shown above in a postcard version) is an opportunity to really look at the work of A. M. Cassandre (Adolphe Jean-Marie Mouron, 1901–1968), as Hollis encourages us to do. Cassandre’s work repays close study because of its great design intelligence. Really looking at the artefacts themselves, whenever possible, is also important because they demonstrate just how thoroughly Cassandre’s work unifies concept and technical execution. The results have a powerful visual, physical, and imaginative presence.
Étoile du Nord
This postcard is based on a 1927 poster of the same design. The reverse gives details of the luxury high-speed ‘Étoile du Nord’ Pullman service between Paris, Brussels, and Amsterdam. The postcard was printed by L. Danel, which also produced the original poster; it is a good quality rendition of a poster that now sells for tens of thousands of pounds.
Nord magazine was issued monthly by the Compagnie du Chemin de Fer du Nord and distributed in the first class compartments of its trains. The cover design, created in 1927 and signed ‘A. Mouron-Cassandre’, was used for many years. Each issue was printed in black and a variable second colour, including yellow, orange, light green, light blue, pink, lavender, grey, and buff.
Press advertisements by Cassandre sometimes featured inside the magazine. The example shown here, for ‘Dr. Charpy’ health and beauty products, was based on a 1930 poster of the same design. The image makes reference to a study of human facial proportions by the French artist Jean Cousin the younger, illustrated in his book Livre de pourtraicture (c. 1595).
This postcard is based on a 1930 poster of the same design, advertising Triplex laminated (i.e. safety) glass for automobile windscreens and other uses. The rectangular plate of glass, an analogue for a windscreen, offers both clarity of vision and protection. The text of the poster, ‘Le verre Triplex s’étoile mais ne fait pas d’éclats’, reads approximately ‘Triplex glass cracks but does not shatter’. The text has added meaning since ‘étoile’ indicates cracking in a star-like pattern, while ‘éclats’ refers to bursts or fragments (of glass) and sparkles (of a star).
The cover design of this quarterly journal was created in 1932 and thereafter used throughout the 1930s. The metallic surfaces suggested by the graduated tints are superbly conveyed by the luxurious gravure printing. Covers were customised with variable overprinted text.
This wine catalogue is among the most lavish commissions completed by Cassandre. The cover design is an impressive synthesis of production and visual effect, in which spatial recession is achieved through multiple colour planes, trompe l’oeil perspective, and the contrast of gloss and matte inks and the embossed ‘N’.
This postcard is based on a 1934 poster of the same design, whose imagery was additionally used for menus and other printed matter. From a present-day perspective, the image appears vaguely surreal, though the Surrealist work it evokes, Salvador Dalí’s Lobster telephone, was in fact created two years later. The Maison Prunier was (and is still today) a Paris restaurant specialising in seafood. A London branch, which opened in 1933, was in business until the mid 1970s.
This profile of Cassandre was published in Fortune magazine during his first visit to the USA in 1936–37, and includes four speculative poster projects commissioned by the magazine. The right-hand column of the text includes a lengthy quotation by Cassandre describing his understanding of how a successful poster functions.
Posters by Cassandre
This catalogue was for a 1936 exhibition of Cassandre’s posters held at the Museum of Modern Art in New York. Cassandre wrote at around this time that a poster should contain the solution to three problems: an optical problem, a graphic problem, and a poetic problem. The optical clash of the cover’s complementary colours is a physiological equivalent to the arrow’s graphic piercing of the figure’s eye/vision. The poetic effect is a compelling, gripping violence.
The display ‘Have you ever really looked at …? A. M. Cassandre’ was assembled by Eric Kindel, to mark the arrival of two new vitrines in the Department, courtesy of the Museum of English Rural Life, University of Reading. With thanks to Darryl Lim, James Lloyd, and Alice Savoie.
Breaking down Barriers (BdB) – our multidisciplinary inclusive design project – has received a Highly Commended Award for Innovation in Education and Training in the 2016 Chartered Institute of Building (CIOB) International Innovation & Research Awards Scheme.
BdB champions a unique cross-disciplinary initiative to embed inclusive design across the University. Our BdB vision is to ensure Reading graduates across all disciplines advocate inclusion in their professional practices and bring real benefits to the everyday lives of all users, particularly people with conditions related to ageing and/or cognitive and physical disabilities. In Typography, we are engaging with inclusive design across a range of professional design contexts, including digital, packaging, print and wayfinding applications.
Typography students say that our BdB workshops have helped them “gain insight as to how thoughtful design can influence other industries and how we as designers must work together with these other industries in order to make the lives of the people that need a helping hand that little bit easier”.
CIOB Innovation and Research Awards highlight the importance of innovation and research in raising performance levels, enhancing best practice and improving the quality of the built environment. The CIOB judges said: “This innovation in education is a practical, engaging and demonstrable way to bring to life a real social challenge with widespread value and application. The innovation shows a genuine commitment to invest in the UK’s building stock and educate the next generation of professionals to ensure the needs of all users of a facility are firmly met.”
BdB began as an exciting collaboration between the School of Built Environment, the Henley Business School and the School of Arts and Communication Design in 2015. Since then we have been joined by staff within the School of Biological Sciences and collaborated with the Centre for Staff Development and, most recently, the School of Psychology and Clinical Language Sciences, as well as external partners.
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.
In the last in a series of posts about artefacts in the exhibition ‘Material histories’ (now on in the Department), Eric Kindel tells the story of a stencil cut to commemorate the 1876 Centennial Exhibition in Philadelphia.
Centennial Exhibition stencil
This stencil (shown above, at right) was made in 1876, or shortly after, by S. H. Quint & Sons of Philadelphia, a company started in 1849 specialising in stencil cutting and the manufacture of pattern letters, steel stamps, seal presses, burning irons, and so on. In 1876, the company displayed samples of its work at the Centennial Exhibition in Philadelphia and was awarded a ‘first premium’ and a medal. Apparently to commemorate the award, two elaborate stencils were cut, based on the two sides of the medal. The stencil displayed here, translating the obverse of the medal, depicts the ‘Genius of America’ holding a crown of laurels above the emblems of industry lying at her feet. The four roundels at the cardinal points typify America, Europe, Asia, and Africa, accompanied by appropriate symbols.
In 2005, this stencil was offered for auction on eBay, illustrated by several indifferent photographs. Not knowing its identity, provenance, or significance, I put in an early bid of $70, hoping for the best since I was not able to follow the auction to its end. In the event, I won the auction, but only just: a rival bidder had bid up to $69 and then quit. I became increasingly grateful for this fortunate outcome as I later assembled the stencil’s story from Centennial Exhibition records, a Quint catalogue, Frank Leslie’s historical register of the United States Centennial Exposition, 1876, and correspondence with Gladys Quint Wigfield, the great grand-daughter of the company’s founder, Silas H. Quint (1821–1897).
In 1952, the Philadelphia-based designer Raymond A. Ballinger published Lettering art in modern use. The book features the partner stencil to the one displayed here; it translates the reverse of the Centennial Exhibition medal. Ballinger encountered the stencil at the Quint company and clearly felt it would make a striking addition to his book. The partner stencil and the medal are still in the possession of the Quint company, which continues in business in Philadelphia, now specialising in the manufacture of photopolymer flexographic printing plates for pharmaceutical packaging.
Stencil plate, S. H. Quint & Sons, Philadelpia, 1876 (or shortly after), brass Quint’s stencil, stamp, and letter works, catalogue, Philadelphia, c. 1887–1895, back cover showing a representation of the Centennial Exhibition medal
Portrait of Silas H. Quint, no date Lettering art in modern use, Raymond A. Ballinger, New York: Reinhold, 1952
‘Material histories’ presents graphic communication artefacts with a story to tell. The stories – the material histories – describe the artefacts in particular: what they are about, where they came from, their material qualities, their circumstances of production, how they were acquired, and crucially how they link to other artefacts, narratives and representations.