Category: events

The basics: a guide to good writing and referencing

In Typography at the University of Reading, a huge importance is placed on having a good academic writing ability. Week four and five of the Baseline Shift sessions therefore aimed to sharpen the writing skills of students, with talks on professional writing and referencing.

Week four kicked off with ‘Let’s eat Grandma!’, a talk from Kim Shahabudin from Study Advice. This session focussed on academic and professional writing, specifically the role and importance of clear communication.

Students were asked to choose one word to describe academic writing and a word cloud was produced. This incorporated the views of all students, with the bigger words representing a larger number of people who all responded with the same word.

From punctuation, spelling and grammar to writing styles and the impressions they give to others, the talk really covered a wide range of points. The importance of appropriate word choice and good paragraph structure was also emphasised.

‘I didn’t expect such basic things to be enforced so much’ – Joanne, Part 1

Typography student’s knowledge was put to the test with an interactive quiz to reinforce the information that had been given, with prizes on offer for the winners!


Following this, week five played host to a very important talk on referencing. The talk was led by Karen Drury, one of the Department of Typography’s two Liaison Librarians.

The talk included vital information for students of all years across the department, with as much as 20% of first year essay marks being dedicated to referencing. Even more so for Part 3 students, who are currently working hard on their dissertations.

The talk covered all bases of referencing including how, when and why referencing should be used as well as different styles of referencing, which involves guidelines as to how the information in the reference should be structured (the Harvard style being favoured within the department!)

As a little reminder, the Harvard referencing system is structured as follows:

Author (Last name followed by first initial), year published, title of work, place of publication, name of publisher, pages used

For sources such as journal articles, the publication information is replaced by the journal title, volume and issue numbers. Websites are also slightly different, the date the source was accessed must be included as well as the URL it can be found at.

Talking to some members of Part 1 after the talk, it became clear that, before university, referencing was not as strictly enforced as it is here.

‘I’ve done referencing in the past, but it was never this rigid and strict’ – Joanne, Part 1

Being from a department such as typography, the materials we are required to reference are often different to that in other fields. As well as the more common sources such as books, journal articles and websites, Karen really clarified how we should go about citing materials such as pictures and artworks. She emphasised the basic reference structure which involves four major pieces of information: author, date, title and publication details (such as the place of publication and the name of the publisher although this varies depending on the item being referenced).

Through interactive quizzes, handouts and a variety of examples, Karen really simplified the referencing process, giving students a greater understanding of what is involved in citing correctly.

‘Learning about the specific reference structure to use was really helpful, and the quiz really helped consolidate all of the information given in the talk’ – Ruth, Part 1

Karen also recommended some different tools which are available to assist in referencing such as reference managers (Endnote online, Mendeley and many others). There are also some library guides available as www.libguides.reading.ac.uk which can help in managing and citing referencing.

‘The different tools Karen spoke about will be really helpful, I didn’t know about all of the library resources which are available’ – Caitlin, Part 1


Overall the past two weeks have offered some very key information which is applicable in all areas of study. From Part 1 and 2 essays and reports all the way up to Part 3 dissertations, Typography students at the University of Reading now have a much more solid understanding of how best to structure and communicate written information.

Making a ZINE: ‘I am, we are… different by design’

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

Brainstorming ideas for the new 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.
Presentation at the 2017–8 RUSU Teaching and Learning Showcase

The zine

Working on the Zine

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.’

Finished product

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.

 

Moving forward

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.

 

DK at the University of Reading

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.

Design challenge

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!

Bauhaus typeface revived by MATD student

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.

Ferdinand Ulrich, Hidetaka Yamasaki, and Erik Spiekermann being captured working on the Bauhaus project. Image by Robyn Steffen

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.

 

A July like any other in Reading

Ribbon ceremony
Ribbon-cutting ceremony in the Art Department gallery.

The Department of Typography did not get the memo that July is supposed to be a quiet period. We kicked off the month by hosting the KSBDA International Invitational Exhibition, its first stop after Seoul, and on its way to Katowice, Poland. The exhibition, attended by members of the current Board of the KSBDA and several past presidents, was held with the kind collaboration of the Department of Art. The visitors had the opportunity to examine material from the Collections in Typography, and discuss their use in teaching.

Michael Twyman at ICTVC
Professor Michael Twyman delivering the opening keynote at Thessaloniki.

The second week of July saw many staff, research students, and postgraduates fly off to Thessaloniki, to take part in the 6th ICTVC conference. The triennial event is spearheaded by alumnus Dr Klimis Mastoridis and aligns closely to the research strands of the Department. Several members delivered papers, and Emeritus Professor Michael Twyman delivered the opening keynote.

Monotype celebration
Celebrating the Monotype Studentship, from left: senior designer Malou Verlomme, Type Director Dr Nadine Chahine, the VC Sir David Bell, and Head of Department Professor Eric Kindel.

Back in Reading, we marked the tenth anniversary of the Monotype Studentship, a substantial initiative in funding support for our postgraduates. The Studentship is only one element of our deep collaboration with the company, which stretches from research support to technical training.

Over the two last weeks of July the Department was taken over by the annual TDi summer course. The international cohort (with participants from Bangladesh, Brazil, Canada, Dubai, India, Jordan, Korea, Malaysia, UAE, USA, as well as European countries and the UK) spent long days in sessions led by several members of the Department’s staff and student community, working in our studios, with material from the Department Collections, and personal staff collections. Through lectures and seminars, to hands-on sessions with archival material and letterpress equipment, the TDi provides a unique distillation of key areas of the Department’s narrative on typography and typeface design. Marek Jeziorek documented this year’s course in several albums, starting here.

Typography in Beijing

TDC opening

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 line-up

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.)

workshop at CAFA

CAFA workshop

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.

at Founder

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.

Dongdao Design

Dongdao Design

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!

Making an impression: printing presses, type and colour

 

This workshop, based around the printing press collection in Typography, attracted postgraduate students, academic staff, museum and library professionals, and members of the public interested in the materiality of text, books and ephemeral documents.

Participants used the presses under craft supervision, and had a go at casting metal type.

They printed a page from the Gutenberg bible on a reconstructed one-pull wooden press that Gutenberg would have used, as well as 19th century woodblocks on another.

Alan May demonstrated printing of a Fust and Schoeffer 2-colour initial.

The workshop culminated in a fascinating talk by Dr Elizabeth Savage (British Academy Postdoctoral Fellow, Centre for Material Texts & Research Fellow, History of Art,Cambridge University) ‘Deciphering the First Colour-Printed Images in England: The Book of St Albans, 1486’

IMG_1474 IMG_1475 IMG_1479 IMG_1481

Looking at children’s reading books

A collections-based research exhibition about typography and illustration in books for teaching reading from the 1880s to the 1960s.

 

kidsex2

Monday 11 January 2016 to Friday 18 March 2016

Open from 10.00 am to 4.00 pm, Monday to Friday

Department of Typography & Graphic Communication, ToB2, Earley Gate

More information from Laura Weill l.weill@reading.ac.uk

The use of typography and illustration in reading books for children has changed during the last hundred years. There has been a gradual shift from graphic conventions determined by printing and typesetting practice for adult readers to those more appropriate for beginning and emerging readers. Illustrations have become more important and many reading schemes used known artists to create the much-loved characters who featured in the narrative.

kidsex

Granshan hits the spot

Jae-joon Han at Granshan

Granshan is devoted to the development of typographic awareness in global scripts, through its annual competition and conference. This year Reading hosted the fourth conference, after Yeravan, Bangkok, and Munich. Over three days, the conference touched on the business of type design, training, support for minority and endangered scripts, the development of resources for complex scripts, and severals aspects of design for global scripts.

Victoria Sarapina

A tight schedule combined a dense pace punctuated by generous break times, to allow for new connections. To celebrate the fifteenth anniversary of the MATD, the first day was devoted to globally prominent speakers who were also graduates of programme.

Adi Stern

Lively discussions followed several presentations, and engaged gatherings continued long after each day’s talks had ended. Feedback for the event was overwhelmingly enthusiastic, creating combination of in-depth but accessible discourse in global typeface design:

The conference included two special events. The first celebrated the Murty Classical Library of India series by Harvard University Press, with a salutation by Tim Jones, and presentations by Fiona Ross, Rathna Ramanathan, and John Hudson. The second was a very special calligraphy duet with Timothy Donaldson representing Europe and Kang Byung-in representing Korea, in an impressively packed studio in Typography.

Granshan calliduel

The conference ended with an after-party organised by the current MATD students. More than twenty countries were represented by speakers, and many more by attendees, underlining the strength and extent of the current network of typeface design.An exceptional AV team produced a liveblog of the conference, and had uploaded most talks before even the end of the conference on the Granshan YouTube Channel.

The conference generated wide coverage and social media recorded very enthusiastic comments by attendees as well as speakers, exemplified by this tweet:

During the closing statements Boris Kochan announced that the 2016 Granshan will take place in Seoul. Follow @GranshanConf for updates!