This week’s Baseline Shift session welcomed type designer and Commercial Type co-founder Paul Barnes back to the University of Reading, more than three decades after graduating from the course himself. Paul reflected on his path from studying hand lettering and letterpress printing at Reading to becoming one of the most influential contemporary type designers working today, creating typeface identities for major clients including The Guardian, Givenchy, The National Trust, Rapha and the V&A.

 

Early influences

Paul’s love for typography stemmed from physically constructing layouts and lettering by hand back before digital workflows became standard. Studying at Reading, much of the course consisted of letterpress printing and creating artwork manually which Paul describes as being something he enjoyed thoroughly, explaining how there is real precision involved in these production techniques that can feel quite lost within workflows today. Lectures by Michael Twyman on the history of typography and trips to study the classical inscriptions in Rome were just a handful of memories Paul reflects on that continue to shape his work today.

 

Typographic systems

As a graduate, Paul started in the editorial and magazine design sector at a company called Spin that he later became the art director of. The constant cycle of experimentation with text, layout, image every month was an exciting environment for him to be in. However, within magazine design, the typographic systems were the main area that interested him rather than the overall art direction. Experimentation with software such as Fontographer, allowed him to create personalised headlines and adapt existing typefaces, developing an interest in consistency and structure within typography.

 

Creation of Commercial Type

One of Paul’s earliest defining moments was his work on The Guardian redesign in the early 2000s. Working with Christian Schwartz, together they developed the typeface Guardian Egyptian, a custom slab serif family created during the newspaper’s transition to the Berliner format. The typeface gave a distinctive visual identity that showcases the move from fine serif styles and bold headline typography that remains so recognisable today.

Upon completing the project, both Paul and Christian knew that ownership of the typeface would return to them after the Guardian’s exclusivity period ended. So instead of keeping it as a one-off commission, they decided to treat this as a starting point for creating Commercial Type. The aim in creating their own company was to balance both commissioned projects with a growing retail library of typefaces, allowing the pair to work across commercial branding systems and more experimental typographic projects.

 

Historical typography

Throughout the talk, Paul kept coming back to the fascination of nineteenth-century typography that included old playbills, specimen books and printing archives which was the first moment where typography started to become expressive with weights and size as the printing techniques evolved. Commercial Classics was an element Paul spoke about, a section that focused on reviving the forgotten nineteenth-century typefaces that disappeared over time. Paul’s intention with these forgotten typefaces is not to reproduce the historical forms, but to create a balance between research and interpretation, starting from incomplete alphabets or collections found in archives like the St Bride Library in London.

 

Variable fonts and The V&A

During the pandemic, Paul was asked to lead the redevelopment of the V&A’s typographic identity, prompting him to explore variable fonts and how they could create consistency across the museum’s network of locations. The typeface Spiller was created as a system featuring variations of the same typographic structure to represent each venue. Designed with variable widths and contrast options, Spiller was able to adapt across applications such as signage, advertising, and gallery interpretation while maintaining a consistent identity. Paul’s aim was to combine contemporary digital technology with historical references, creating a nineteenth-century typeface while keeping the form appropriate for readability in exhibition spaces.

 

Designing for cycling culture

Another branding project Paul worked on was for Rapha, the high-fashion cycling brand. He was initially brought in to simplify the typography across the company’s visual identity. Due to licensing issues with existing typefaces, a new custom typeface called Frame was developed. Based on historical Caslon features, Frame incorporated a larger x-height and sharper detailing to improve readability across the brand’s platforms. Paul explained how even small typographic adjustments can significantly affect how a typeface performs across digital layouts.

The project later expanded into a wider promotional campaign, with large-scale signage used to promote the new typefaces around major cycling races across Europe. Reflecting on the campaign, Paul joked that “you need to promote the promotion”, highlighting how typography within branding systems must also function effectively in public spaces.

 

Jan Tschichold exhibition

Towards the end of the session, Paul described how, while studying at Reading, he became fascinated by Jan Tschichold’s approach to lettering, layout, and clarity. Over time, he built up an extensive personal collection of Tschichold’s publications. This interest later developed into an exhibition created with fellow Reading graduate Fraser Muggeridge, showcasing Tschichold’s typography and archival material. For the project, they digitised historical lettering and recreated posters using traditional letterpress techniques. Many of Tschichold’s unfinished designs and typographic experiments had never been fully developed, so Paul used this opportunity to extend and reinterpret the work using contemporary technology.

 

Advice for young designers

• Continue to explore different areas of design rather than specialising too early
• Build relationships and stay connected with people throughout your career as opportunities often develop over time
• Focus on consistency and attention to detail
• Be open to different ways of working and continue adapting as technology and design industries evolve

 

– Written by Sam Buxton

– Edited by Tommy Molnar

Sharing his journey this week was the incredible Sammy Rudkin, Graphic Designer for the internationally successful content creation group, Sidemen. Sammy delivered an inspiring talk on his impressive career journey so far, speaking honestly about what to expect from the industry, being transparent about income at every stage of his career, and offering valuable advice on how to stand out as a designer.

 

An early start

Sammy’s interest in design began at an early age. From as young as ten years old, he developed many of his practical skills through YouTube tutorials, perhaps why he now believes that “YouTube is the best website in the world.” Experimenting with small VFX and motion graphics for YouTube intros helped Sammy continually refine his software skills. At 15, he offered to create a graphic for a colleague at his part-time job in a local pub, who later went on to establish an esports team. That opportunity snowballed into Sammy becoming involved in much of the early design work for competitive esports organisation Endpoint. Sammy used this stage of his journey to remind students to “just make stuff all the time,” explaining that you never know where personal projects and experimentation may lead.

 

Side hustles

Alongside his graphic design work for Endpoint, Sammy also advocated for taking on side hustles. His side project of choice was launching his own clothing brand, which he sold within his personal circle and generated impressive revenue from at just 16 years old. A few years later, Sammy began studying Graphic Communication and Illustration at Loughborough University. When Covid forced teaching online during the first two years of his degree, Sammy found himself completing coursework ahead of deadlines, leaving him with valuable free time to further develop his software skills. During this period, his focus shifted towards 3D software, beginning with Cinema 4D. Reflecting on this time, Sammy reminded students that “Uni is the only time where you’ll have three years to just learn stuff, so make the most of that time.”

 

Having something to show

By building an Adobe Portfolio featuring work created during his time at Loughborough alongside projects completed for Endpoint, Sammy was able to begin applying for placement opportunities. After sending more than 50 emails, he secured a placement year position at gaming-focused marketing agency Kairos Group (now NewGen). During his time there, Sammy worked with several globally recognised brands, significantly strengthening both his CV and portfolio. Projects included designing wallpapers for Coca-Cola and creating social media templates for Mercedes. Looking back, Sammy reflected on how the esports experience that began from creating a small motion graphic “for fun” ultimately helped him secure his placement year, and later kickstart his design career.

 

Make your work work for you

Sammy encouraged students to make the most of final-year coursework by creating projects that would strengthen their portfolios and push them creatively, rather than simply designing for grades. He followed this philosophy himself, producing visually striking final-year projects with a strong emphasis on motion design, helping his portfolio stand out amongst the competition. Alongside university work, Sammy also entered competitions such as D&AD, where he won a Yellow Pencil for his motion work on the IMAX brief. He later submitted his final-year branding project, Atrix, to the Adobe Digital Edge Awards, winning a cash prize for the project’s impressive visuals. These achievements eventually led to him being invited to speak at Adobe MAX while still studying at university, an incredible feat.

 

Sidemen

Following graduation, Sammy began searching for career opportunities. Inspired by the journey of a Loughborough alumnus, he reached out to ask about his career path and whether any opportunities might be available. Although no immediate role emerged, the connection remembered Sammy’s work and later contacted him to join the Sidemen project. Sammy emphasised that the best way to build opportunities is to “make yourself known to people.” His early work with Sidemen involved creating social assets and card designs for collaborations such as Sidemen x Topps, alongside graphics for podcast intros and transitions.

 

Owning projects

Despite only graduating a few years prior, Sammy has progressed at incredible pace, taking on more responsibility within his role. He gained full ownership of the 2025 Charity football match for Sidemen, which is something that he feels only comes with working inhouse, suggesting that a designer is unlikely to gain full ownership within an agency (and to keep this in mind when looking at what career path you want to pursue). For this project, Sammy designed with fan engagement in mind as the Charity match’s aim was to push social media reach as much as possible across several platforms. He more recently had the opportunity to take similar authority over Netflix’s hugely successful Sidemen series, ‘Inside’. Sammy elevated the visuals in this project to another level, proving that continuously honing your craft, saying yes to opportunities, and getting involved in ambitious projects will always be reflected in the quality of your work.

 

AI’s role in design

Sammy spoke openly about AI’s place within the creative industry, encouraging students to view AI as a tool rather than a replacement for designers. Using examples from his recent work on Inside, he demonstrated how AI-integrated software such as Beeble could assist his workflow by analysing green screen footage and estimating object contours and camera proximity through bump and depth maps. Rather than feeling threatened by AI, Sammy encouraged students to stay informed about emerging technologies and learn how to integrate them into their workflows. While AI can support efficiency, the industry still values human creativity, originality, and practical design skills.

 

Advice for young designers

• Constantly create, starting with personal projects because your portfolio is crucial
• Uni is the last time you have this much spare time so use it to learn as many disciplines and pieces of software as possible
• Be sure to prioritise a work life balance
• Make yourself valuable by finding out what skills the industry is asking for in your field – gain those skills
• Don’t work for free… unless:
  • It’s a personal project
  • For a friend/in exchange for something
  • It’s short and too good to turn down

 

– Written and edited by Tommy Molnar

This week’s Baseline Shift session welcomed editorial designer Kieron Lewis, who shared an honest journey through design, failure, and finding purpose. Rather than focusing only on polished outcomes, he spoke openly about setbacks and uncertainty, offering a more realistic perspective on building a creative career. Kieron also reflected on growing up in Brixton, explaining how its strong sense of community and cultural diversity continues to influence his work.

 

Finding the right path

Kieron began by reflecting on his early creative journey. Initially studying video game design, animation, and life drawing, he quickly realised that this path wasn’t right for him. This moment of realisation, although difficult, became a defining step in his career. It led him to pivot towards graphic design at the University of Winchester, where he began to explore branding and editorial design more seriously.

During his time at university, he co-founded Plog Magazine, a publication focused on documenting student experiences and creative work. What began as a small, self-initiated project grew significantly, eventually receiving university funding to produce further issues. This experience demonstrated the value of taking initiative and building something independently, rather than waiting for opportunities to appear.

The magazine also allowed Kieron to explore print as a medium for storytelling, understanding how editorial design can capture voices and document experiences, while also creating a sense of community. It set the foundation for the type of work he would go on to pursue later in his career.

 

TEDx Euston

After graduating, Kieron started his career in advertising but quickly realised it wasn’t the right fit, and after several months, he was let go. This prompted a shift towards voluntary work, joining TEDx Euston as a designer. Working on an event centred around African leadership and global conversations, he was surrounded by creatives who shared similar values and motivations. The work felt meaningful, and the collaborative environment helped rebuild his confidence and creative energy.

His time working with TEDx Euston became a key turning point, both creatively and personally. Alongside developing his confidence and collaboration skills, he worked on a range of outputs, including Legacy, a publication that brought together years of speakers, ideas, and conversations from the event. The project acted as a reflection of the community behind it, while also marking an important step in shaping his direction as an editorial designer.

 

Freelance and meaningful work

After building up his portfolio and stepping away from volunteer work, Kieron secured his first role in editorial design. This position gave him valuable experience working on publications and leading client meetings. However, after being made redundant, he was pushed to reassess his direction once again.

Moving to freelance meant he could focus on projects more closely aligned with his values and interests. This change allowed him to take on more meaningful and self-directed work. One of his most impactful projects, Still Breathing, was a 300-page publication created in response to the murder of George Floyd. The book features contributions from 100 individuals, each sharing personal experiences, reflections, and responses to racism in their chosen field

What made the project particularly powerful was its approach to design. Each contributor was given space to express their voice individually, resulting in a wide range of visual styles and perspectives. At the same time, the overall design maintained a sense of unity, using typography to express different emotional tones.

The book extended beyond its physical form, with exhibitions across London, displaying selected spreads. These exhibitions invited public interaction and encouraged conversation around difficult and often uncomfortable topics. The project showed how editorial design can be more than just something visual, creating space for conversation and deeper engagement.

 

Creative opportunities

Kieron also spoke about his work with Adobe Live, which began when Adobe reached out to him to take part in a three-hour livestream. Initially unsure if the message was even real, he later found himself designing live on stream, sharing his process with an online audience in real time.

After the success of the session, Adobe invited him back in a hosting role. This shifted the experience from designing under pressure to leading conversations with other creatives, and over time became a consistent part of his practice. Alongside online sessions, he expanded his collaboration into in-person events, including work with organisations like D&AD.

Alongside building his reputation through projects like this, Kieron was approached by HarperCollins to design a book cover for Craig David. This project offered a contrasting perspective on design, highlighting the realities of client work. Producing 40–50 design variations, with only a small number being shortlisted, demonstrated the level of iteration required in professional practice.

It also reinforced the importance of understanding the client’s perspective. While designers may have personal preferences, the outcome ultimately depends on the client’s vision and learning to navigate that balance is key to building strong working relationships.

 

Collaboration, scale, and craft

One of Kieron’s most recent projects, Lagos Biennial, represents editorial design at a much larger and more ambitious scale. The project took the form of a 456-page hardback publication, enclosed within a 7kg concrete sculptural case, immediately positioning it as more than just a book. At 336 × 494mm in size, the physical presence of the piece reinforces the idea of “large-scale” design, both conceptually and materially, bringing together the work of 161 contemporary Nigerian artists into a single, carefully crafted outcome.

The project took over two years to complete and involved close collaboration across an international team. Managing such a large volume of content required strong design judgement, alongside a clear and consistent approach to organising and handling material throughout the process.

The project also extended beyond the design process itself. Kieron was flown out to Lagos for the book launch, where the publication was presented within the same cultural context it documents. Seeing the work exist physically, both as a publication and as a sculptural object, marked a full-circle moment in the project. It reinforced the idea that editorial design is not just about creating pages, but about shaping how work is experienced, shared, and remembered. Lagos Biennial stands out for giving artists visibility while capturing a unique cultural moment.

 

Advice for young designers

• Start small, think big
• If you don’t ask, you don’t get.
• Document and organise everything, capture ideas, sketches, and process; keep files clear and easy to navigate.
• Take risks and embrace failure, learn from setbacks, and grow through experience.
• Work with purpose and collaborate, choose projects that matter and build your network through teamwork.
• Explore beyond the screen, seeing things physically, visit inspiring spaces, and engage with the world of design

 

– Written by Matthew Banks

– Edited by Tommy Molnar