Category: Uncategorised

Cianna’s Smile Charity

Overview and Context 

Cianna’s Smile is a charity that offers support and education to families impacted by Sickle Cell Anaemia in the UK. The charity, based in Reading, aims to raise awareness of Sickle Cell and blood donation through public speaking events, therapy workshops and training days.  

We received all of our copy text from the client, as well as some of the icons that they used within their branding. Our client wanted us to use these icons within the book to maintain consistency across their brand. The charity used the typeface Montserrat for body text and Kollektif for their headings. 

 

Restated brief 

Aims 

Our aim for this project was to design and illustrate three publications for the Sickle Cell awareness charity, Cianna’s Smile. The aim of each of these publications was to help and empower people and families affected by this cell disorder and to support them whilst giving them a sense of having more control. 

Deliverables

Initially, we were proposed to make three deliverables, each with a separate time frame. After a discussion with our client, we discussed a small fourth deliverable of a poster:

  1. Illustrated poster– an illustrated pattern that can be used across social media and on stalls at in-person events. 
  2. A nutrition guide/ recipe book – an illustrated recipe book that promotes the importance of diet and nutrition in preventing and managing symptoms associated with Sickle Cell. 
  3. Transition Journal – Aimed at young people living with Sickle Cell, to help them with the change from paediatric to adult care. 
  4. An interactive children’s book – an interactive children’s book that informs children about Sickle Cell. 

As a group, we split the deliverables between us.  

  • Holly – Nutrition guide and illustrated design 
  • Izzy – Transition Journal
  • Lovell – Interactive children’s book

 

Deliverable 1: Illustrated poster 

Overview

Our client requested a square, patterned poster that they could use decoratively on the charity’s social platforms and for events. The aim was to hide the sickle cells amongst normal red blood cells so that the poster could also act as a searching game for younger audiences. 

Figure 1. An example image sent by our client.

Sketch 

I developed a number of sketches of sickle cells and sent them for review to our client. We were concerned that they would look too much llike moons or sweets, so we continued to develop them until our client was happy. 

Figure 2. The first iteration of the red blood cell and Sickle Cell. 

Development 

After finalising the sketches, I began to make variations of the poster in different colours. 

Figure 3. The first variation of the poster.
Figure 4. The second variation of the poster.
Figure 5. The third variation of the poster.

Final 

In the end, the client chose the more colourful poster, including the brand’s colours.

Figure 6. The final version of the poster.

In use 

Here are some examples of the pattern in use across the charity’s social media. 

Figure 7. Examples of the poster in use.

 

Deliverable 2: Nutritional Recipe Book

Overview 

For the recipe book, our client wanted us to include a handwritten style typeface for the ingredient lists and to use their typefaces for the rest of the typography. They wanted the book to be very illustration heavy (with an emphasis on feeling ‘doodly) and to cater to both children and young adults. The first section of the book contains information on Sickle Cell and how to manage symptoms, before jumping into the recipes. Therefore, graphs and diagrams needed to be illustrated in addition to the ingredients. We were given the dimensions of 210x210mm for the book. and were asked to design it for PDF and for a hard copy. 

Ideation 

We received a mood board of ideas from our client, and after discussion, we narrowed down what they liked from each design and took this into the sketching stage. 

Sketches 

From our ideation, I developed a series of illustrations in different styles, paired with different variations of handwritten typography. From here, our client selected numbers 3, 5, 8, and 10, and we decided to find a typeface rather than handwriting the text. After further development, the client chose design 4 as the style to progress with for the book. 

Figure 8. Initial ingredient sketches with handwritten text.
Figure 9. Developed ingredient sketches, based on feedback.

Developed Illustrations

Over the summer, I developed the sketches further, making an illustration for each ingredient within the book. Then I created a full illustration of the final dish for every other recipe within the guide. This resulted in a total of 112 illustrations.  

Figure 10. Example of some final ingredient illustrations.

 

Figure 11. A full dish illustration.

Layout 

After finalising all of the illustrations, we moved on to discussing the layout. We provided the client with a few examples of how we could present the information, and we developed the grid and layout from this. We finalised the layout and began to develop each of the pages, receiving client feedback throughout.  

Figure 12. A draft page layout.
Figure 13. Approved layout.

Covers 

We also began to work on the front and back cover design at this time.  Variations were created, and then the client selected their favourites, and we made adjustments.

Figure 14. Draft covers for the nutrition guide.
Figure 15. Complete approved cover.

 

Final 

Once the pages were approved, we sent the PDF to our client, who then sent it to print through a third party and uploaded it to their website as an interactive document. 

 

Figure 16. The promotional post on the Cianna’s Smile account for the nutritional guide.
Figure 17. The public online pdf flip book.

 

Deliverable 3: Transition Journal

Overview 

For the Transition Journal, our client wanted us to include the handwritten style typeface for the illustration captions and to use their typefaces for the rest of the typography. Following on from the recipe book, they wanted the journal to be illustration heavy, but with space for user to write their own thoughts and feelings in response to their transition through Sickle Cell. The journal began with explanations of the move from paediatric to adult care, as well as common questions that will be answered throughout the rest of the journal.  

Development 

Following on from the recipe book, the illustration style stayed consistent with sickle cell illustrations being used throughout. The colour scheme stayed the same, with the bright colours and drawings staying in the background of the journal. Due to the progress made in deliverable 1, deliverable was able to progress at a quicker rate. All pages of the transition journal followed the layout below, focusing on ensuring the user felt comfortable when transitioning through care. 

Figure 18. Examples of some of the pages within the Transition Journal.

Final 

After going through minor development stages, the final pdf was sent to the client. 

 

Reflection 

We maintained close contact with the client throughout the design process, updating Hayley after each update. Due to the conflicting views from the client, the design process was longer than usual causing the time deadline to keep being pushed back. Overall, we learnt a lot about editorial work and illustration. 

Rebranding the 16th Linguistic Landscape conference

Overview

For this Real Job I redesigned the logotype for the 16th workshop of Linguistic Landscape – a conference held that was held at the University of Duisburg-Essen located in the Ruhr area of North Rhine-Westphalia, Germany in 2025. The conference is held at a different location every year, so requires a new, bespoke identity each time.

 

Restating the brief

Aim for the job

The goal was to create an identity for the conference that reflected the industrial heritage of the area to be used both on screen, on the client’s website and BlueSky, and off screen, on an array of merchandise such as tote bags, cups and pens (figs 01 to 04)

 

Fig 01: Physical output example #01

 

Fig 02: Physical output example #02 – cup

 

Fig 03: Physical output example #03 – tote bag

 

Fig 04: Physical output example #04 – lanyard

 

Core deliverable

The primary objective for this job was to produce a logo that has two variations; extended and condensed. This was because the client did not want to be constrained when selecting the range of aforementioned objects to apply the logo to, because of the range between their sizes. I achieved this by integrating a mascot into the full logotype, the Zeche Zollverein – a modernist structure that was formally a coal mine shaft – which could be removed and integrated with the initial of the extended logotype (L) to form the condensed logo. This allowed for smaller objects, such as pens, to be branded, as well as larger objects, like tote bags, simultaneously. The client also later requested to have multiple texturised versions of both logos to add greater depth to the identity by referencing the surrounding area of the conference’s industrial history as showcased later.

 

Schedule

  • Week 13: Confirmation of brief directly from client and first meeting with client 
  • Week 14: Research and initial design concepts 
  • Week 15: Concept development, presentation to client and feedback from client 
  • Week 16: Respond to feedback and develop iterations
  • Week 17: Finalise designs
  • Week 18: Deliver logo (and mock up, designs)

 

Research

As the client was based in Germany, I was unable to visit and collect primary research. As a result, I gathered material online by consulting sources of inspiration that pertained to the client’s needs after our initial client meeting, as detailed next. To keep this research as relevant as possible, I wanted to capture the gritty essence of the conference’s area.

Ideation

After my initial meeting with the client and discussing the job ahead, I created the three mood boards to distill the possible directions that could have wanted to pursue (figs 05 to 07), as this was not concrete. Initially, the client favoured two directions; the protest and the metallic visual styles. Therefore, for the next meeting, I decided to sketch possible appearances of the logo in the industrial style (figs 08 to 09) and conduct some experimentation with tape in the style of placards (figs 10 to 11), to gauge which direction they truly favoured.

 

Fig 05: Protest initial mood board

 

Fig 06: Textures initial mood board

 

Fig 07: Street art initial mood board

 

Fig 08: Industrial logo ideas – sketch #01

Fig 09 Industrial logo ideas – sketch #02

 

Fig 10: Tape experimentation #01

 

Fig 11: Tape experimentation #01

Development

The client decided that they preferred the urban, industrial visual style after I presented the mood boards, sketches and experimentation to them. The tape, protest concept wasn’t successful as it jeopardised legibility, and was time consuming to make by hand, which was not sympathetic to the quick-paced nature of the job. Moreover, the client expressed that they liked both Univers and Gotham. To make the decision between both typefaces easier, I redesigned figs 12 and 13 in different ways (fig 14), with each typeface respectively, to provide them with an ample sample to choose one from.

 

Fig 12: Initial logos #01

 

Fig 13: Initial logos #02

 

Fig 14: Initial logos #01

 

Outcome

Inspired by Factory Record’s logo (fig 15), designed by Peter Saville to be used in association with bands from Manchester, a historically industrial area like North Rhine-Westphalia, the logo’s identity ultimately took influence from it’s modernist nature. However, the texturised logos gave the client the ability to inject a more overt application of the area’s essence into the deliverables being branded.

 

I successfully produced a set of two logos (figs 16 to 23), both of which have three different texturised versions. As outlined in the brand guidelines that I produced for the client, the black and white renditions of the logos were to be used for print, being vectors, and the texturised logos for screen – the image of the texture (created using filters and effects within Adobe Photoshop) being a .PNG.

 

Fig 15: Factory Records logo

 

Fig 16: Final extended logo #01 – non-texturised

 

Fig 17: Final extended logo #02 – coal texture

 

Fig 18 Final extended logo #03 – rust texture

Fig 19: Final extended logo #04 – gradient texture

 

Fig 20: Final condensed logo #01 – non-texturised

Fig 21: Final condensed logo #02 – coal texture

 

Fig 22: Final condensed logo #01 – rust texture

Fig 23: Final condensed logo #01 – gradient texture

Feedback

‘Thank you for sharing the files. They look great! I was able to access and download everything with the first link you sent. The guidelines will be very helpful in the coming weeks. Thanks again for your hard work!’

– Melody Ann-Ross, University of Duisburg-Essen

‘Many thanks for the logos and the additional tips! You did a great job and we really enjoyed working with you!’

– Evelyn Zieger, University of Duisburg-Essen

 

Visitors and speakers at the conference also reportedly detailed how when they first saw the logo, they were unaware of what it represented, however after processing it for a few more seconds, the connection to the area’s modernist architecture (fig 24) became obvious. This was the effect that I wanted; avoiding obviousness to create that initial interest.

 

Fig 24: Zeche Zollverein and tote bag

Reflection

This was my third official Real Job, the other two having been group projects. At first, I was slightly apprehensive, as rebranding an entire conference on my own, happening overseas, receiving the brief at the end of my first year of study, undoubtedly struck me as a challenge. Despite this, I decided to pursue the project, as I knew it was going to pay off and provide me with priceless experience. Overall, the job went smoothly once I distilled what exactly the client wanted within the bounds of my availability alongside my full-time studies.

 

Seeing work that I designed, mass-produced onto tangible objects, as pictured earlier, and even on screen, like on the client’s website, was surreal, especially as a second year, reflecting on the fact that I worked alone, with input from my supervisor, Irmi Wachendorff.

Speech and Language Therapy Teaching and Research Clinic

Background

The Speech and Language Therapy Teaching and Research Clinic at the University of Reading is a clinic on the campus run under the NHS. They help children and adults who have speech difficulties, as well as providing student training to University of Reading students. The main purpose of this project is because the clinic has been around for 50 years without any visual identity …

Restated Brief

The brief for this project was to design a visual device which can be applied to digital and physical materials such as reports, websites, and letterheads.

During the initial meeting with the clients, I found out more about the clinic and their opinions on how it should be represented. We discussed any of the requirements / preferences they had for the visual device, which included:

    • Ensuring the design appeals to both children and adults
    • Create a visual device that works at multiple scales
    • The full name will likely appear next to or underneath the visual device, not necessarily inside it
    • The visual device must use the name in full – ‘Communication, Speech, and Language Therapy Teaching and Research Clinic’
    • The visual device should not use acronyms such as ‘C STAR’

This meeting also helped to identify user needs, so that the design for the visual device is targeted to the audience of:

    • Children (2–8 years old)
    • Adults with speech and language difficulties
    • Students on course / placement
    • Clinicians and staff
    • Wider public / families

We also discussed how the visual device should represent the clinic. Specifically, it should convey community, friendliness, collaboration, caring, feel approachable, and be clear.

Research and ideation

Research for this project was conducted within the clinic, as it is very specific to the University of Reading. I also had a look at other organisations within the same field (see fig. 1).

Fig. 1 – existing Speech and Language logos

 

 

 

Following discussions with the clients, I began by coming up with initial sketches on paper, experimenting with different concepts taking into account the discussion with the client (see fig. 2, 3, & 4).

Fig. 2 – initial sketches
Fig. 3 – initial sketches
Fig. 4 – initial sketches

 

Design Development

The initial designs were then refined digitally, where I came up with 6 designs to show to the client (see fig. 5). From these designs, the clients chose sketch 1 and 2 as the two to develop further. Sketch 3 was discounted because it may seem too much like two people (or a parent and child) having a conversation, and so it does not encapsulate the sense of community in the clinic. Sketch 4 and 6 was discounted because the use of the heart could convey relationship advice rather than speech therapy. Sketch 5 was discounted because it was a simpler design that the two which were chosen, and so they preferred others over this.

Fig. 5 – refined sketches

 

I then developed Sketch 1 and 2 further, adding colour and type. From these designs, the client’s favourites are 1a and 4, however further feedback from the rest of the client team will be given soon. From these designs, I will further develop the colour palette as the visual device need to sit alongside the UoR logo, so the colours should be complimentary. The type in this development is also not very legible, so this will be experimented with further.

Fig. 6 – developed designs

Reflection

This project is currently still ongoing, and will be completed by the end of Semester 2.

Overall, there has been good communication with the client – they have given thorough feedback, enthusiastic about the project, and seem to be happy with the direction of the project so far. However, time between designing and arranging meetings could have been used more effectively. There was sometimes gaps between when the design was completed and when a meeting or email feedback could take place, and so this delayed the process.

Reading Alumni: Multidisciplinary design

This week we welcomed back four Reading, Graphic Communication alumni to share their experiences of life after university, offering students insight into the many different pathways a creative career can take. From freelance branding and theatre campaigns to international consultancy work, the talks highlighted the importance of adaptability and trusting your own creative direction.

 

Emily Collard: 

Balancing roles

Our first speaker, Emily Collard, spoke about balancing her full-time role at Whistlejacket Studio alongside running her own freelance business, Collard Design Studio. Emily explained that her freelance career began almost accidentally after posting work online during her first year at Reading as a way to improve her Adobe skills and document her progress. This eventually led to freelance clients, brand collaborations and creative partnerships. It was an excellent reminder to pursue your interests and put yourself out there alongside your studies.

A visual representing Emily’s crossroads after the degree show deciding which path to go down and choosing both design agency and freelance.
A visual representing Emily’s crossroads after the degree show deciding which path to go down and choosing both design agency and freelance.

 

Agency role

After graduating, Emily decided that in addition to continuing with her freelance journey, she also wanted the stability of agency life. Emily explained that through her role at Whistlejacket Studio, she’s able to work within a team, enjoying the collaboration and connection that comes with this. With agency work comes larger clients and companies, which can often feel more serious and corporate. Emily shared a few of her recent projects, one of which was The Wild Summit UK, an event encouraging conversation around the importance of wildlife conservation and preservation.

Emily’s work for Wild Summit UK with the agency, Whistlejacket Studio
Emily’s work for Wild Summit UK with the agency, Whistlejacket Studio

 

Freelance role

Through the freelance side of her career, Emily explained that smaller businesses often come to her for design work that allows her to experiment more creatively. With freelancing also comes the back-end side of design, including client communication and creating design briefs. Freelancing has also allowed Emily to explore areas of design less present in her agency role, such as packaging design, which she worked on while rebranding Glofre Skin’s identity and product packaging.

Emily’s work for Glofre Skin while working as a freelancer under Collard Design Studio.
Emily’s work for Glofre Skin while working as a freelancer under Collard Design Studio.

 

Matt Perks

Freelance opportunities

Next, we welcomed Matt Perks, who shared his journey from university projects and freelance work into the world of theatre and entertainment campaigns. Matt made the most of his time at Reading by taking on freelance work alongside his studies, eventually attracting American clients and balancing university work during the day with freelance projects in the evenings.

Example work from some of Matt’s freelance opportunities alongside his final year studies
Example work from some of Matt’s freelance opportunities alongside his final year studies

 

Enjoying the process

After applying for Sky Creative’s year-long graduate scheme, Matt began to expect rejection due to the lengthy process and huge number of applicants. However, by relaxing into the experience and enjoying the process, he ultimately secured the role out of more than 400 applicants. Working across several teams, Matt spent much of his time creating campaign concepts for crime documentaries, developing and pitching ideas to Directors and Marketing teams before deciding he wanted to pursue a more creatively demanding environment.

Matt’s work on Key Art campaign concepts for crime documentaries
Matt’s work on Key Art campaign concepts for crime documentaries

 

Shifting paths

Inspired by the theatre posters he regularly saw across the Underground, Matt pursued an opportunity at Feast Creative, where he now works on campaigns for theatre and live entertainment. Walking students through projects such as A Midsummer Night’s Dream, Matt explained the journey from initial sketch to final artwork, highlighting how much he enjoys being deeply involved in the creative process and constantly learning new skills. It was refreshing for students to hear that when Matt expressed a skill gap in sketching, Feast supported him by funding a concept sketching short course.

Initial concept sketches for a theatre poster for Midsummer Night’s Dream
Initial concept sketches for a theatre poster for Midsummer Night’s Dream
Final shoot and theatre poster for Midsummer Night’s Dream
Final shoot and theatre poster for Midsummer Night’s Dream

 

Claire Hodgson

Exploring roles

Our third speaker, Claire Hodgson, shared insights into working across both in-house and agency branding roles before becoming Senior Brand Designer and Consultant at Brand Potential. After graduating from Reading, Claire believed she would move into editorial design. However, after completing an internship in this area, she quickly realised this was not the path for her. Instead, she landed a role as a junior designer at Bounce Foods, working across packaging, events and campaigns. Claire valued her time there, learning “how to communicate on a magnitude of levels, not just visually”. After progressing into an in-house midweight designer role at Bewley’s Tea & Coffee, where she worked across packaging and environmental design, Claire eventually moved into her current position at Brand Potential. Here, she not only designs for brands but also supports them through strategy consultation and identity building.

Claire’s slide on her career path, detailing her journey from internship, to in-house roles, to her current agency role
Claire’s slide on her career path, detailing her journey from internship, to in-house roles, to her current agency role

 

In-house vs. agency

Claire compared in-house and agency roles, explaining that neither is ‘better’ than the other, but simply different. In-house roles often see designers become “brand guardians”, working deeply within a single brand and understanding how its departments, touchpoints and audiences operate together. Agency work, on the other hand, involves becoming familiar with a wide variety of industries, setting brand rules and systems while handing over some of the wider responsibilities that may fall to in-house teams.

Claire’s work on BBPA while in her agency position at Brand Potential
Claire’s work on BBPA while in her agency position at Brand Potential

 

Branding both clients and yourself

Students were also shown several projects Claire has worked on during her time at Brand Potential, including developing a sub-brand for OGX and creating a new range of hair care products. Alongside speaking about branding for clients, Claire also encouraged students to think about branding themselves by learning how to position themselves professionally, understanding “why you design”, and recognising the value of their own skills and creative identity.

Claire’s work on BBPA while in her agency position at Brand Potential
Claire’s work on BBPA while in her agency position at Brand Potential

 

Hanorah Murphy

Graduate scheme

Finally, we were joined by Hanorah Murphy, who spoke about her experience within Sky’s Creative graduate scheme and the transition from university into the professional world. Similarly to Matt, Hanorah secured a place on Sky’s graduate scheme during her final year at Reading. However, her pathway evolved over time, moving from the graduate scheme into a six-month contract as an eCommerce Designer within NOW, where she worked on redesigning the platform, before progressing into her current role as a Digital Designer within NOW customer service. Hanorah reassured students that careers are rarely linear, sharing that she applied for more than 100 roles at various stages of her journey so far.

Hanorah’s work with Sky Sports during her time at the Sky Creative Graduate scheme
Hanorah’s work with Sky Sports during her time at the Sky Creative Graduate scheme

 

Beyond the role

Hanorah also shared advice on securing graduate roles, encouraging students to prepare their CVs and portfolios early, make use of networking opportunities, and explore platforms such as Creative Access. During her time at Sky, she was able to rotate across departments by actively reaching out and exploring areas that interested her most. Students were also shown examples of her work redesigning elements of NOW’s streaming platform, where she discussed designing at scale and how the structure of Figma files can directly impact the final user interface. Hanorah rounded off her talk by reflecting on the work culture at Sky, highlighting the importance of the people you work alongside and the experiences you gain beyond the design work itself.

Hanorah’s slide displaying the finished UI of a NOW interface on the left, and the Figma design system on the right
Hanorah’s slide displaying the finished UI of a NOW interface on the left, and the Figma design system on the right

 

Advice for young designers

  • Passion projects are valuable. Self-initiated work can help you develop your creative style, experiment freely, and even shape your future career direction.
  • Agency and freelance work offer very different experiences, and balancing both can help you grow creatively and professionally.
  • Don’t be afraid to enjoy the process. Matt explained that letting go of the pressure during interviews actually helped him perform better and be himself.
  • Creative careers rarely follow a straight path, and staying open to opportunities can lead to unexpected and rewarding roles.
  • Neither agency nor in-house roles are “better”, both offer different experiences and valuable opportunities for growth.
  • Learn how to position yourself professionally by understanding your strengths, your values, and importantly, “why you design”.
  • Start earlier than you think! Especially when it comes to grad schemes. A lot of them close before you’ve even finished university.
  • Progress isn’t always linear. A contract or a sideways move can actually be a bridge, not a setback. Don’t feel like you can’t apply for a role just because you don’t tick every box

 

Written and edited by Tommy Molnar

Paul Barnes: Type design

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.

Classical inscription from one of Paul's student trips to Rome
Classical inscription from one of Paul’s student trips to Rome

 

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.

Example issues of Spin magazine that Paul worked on
Example issues of Spin magazine that Paul worked on

 

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.

Paul and Christian Schwarz's typeface used in the redesign of The Guardian
Paul and Christian Schwarz’s typeface used in the redesign of The Guardian

 

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.

Example specimen of nineteenth-century typeface used as inspiration for a contemporary remake – Fry Six Line Antique, as shown Specimen of Modern Types, 1828, Facsimile
Example specimen of nineteenth-century typeface used as inspiration for a contemporary remake – Fry Six Line Antique, as shown Specimen of Modern Types, 1828, Facsimile

 

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.

Commercial Type's variable typeface pitched for the rebrand of The V&A
Commercial Type’s variable typeface pitched for the rebrand of The V&A

 

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.

Commercial Type advertising typefaces at cycling events
Commercial Type advertising typefaces at cycling events

 

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.

Jan Tschichold exhibition hosted by Paul and Fraser Muggeridge
Jan Tschichold exhibition hosted by Paul and Fraser Muggeridge

 

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

Sammy Rudkin: Motion design

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.

Sammy's work for competitive esports organisation Endpoint
Sammy’s work for competitive esports organisation Endpoint

 

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.”

Sammy's own clothing brand, RDKN
Sammy’s own clothing brand, RDKN

 

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.

Work done throughout Sammy's placement year with Kairos Group
Work done throughout Sammy’s placement year with Kairos Group

 

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.

Sammy's final year project, Atrix
Sammy’s final year project, Atrix

 

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.

Early work done for Sidemen
Early work done for Sidemen

 

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.

Visual for Netflix's 'Inside', a series starring the Sidemen
Visual for Netflix’s ‘Inside’, a series starring the Sidemen

 

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.

Example of Sammy using AI integrated software within his work for Sidemen
Example of Sammy using AI integrated software within his work for Sidemen

 

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

Kieron Lewis: Editorial design

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.

Plog Magazine
Plog Magazine

 

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.

Kieron’s work with TEDx Euston, including Legacy publication
Kieron’s work with TEDx Euston, including Legacy publication

 

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

Still Breathing: 100 Black Voices on Racism—100 Ways to Change the Narrative
Still Breathing: 100 Black Voices on Racism—100 Ways to Change the Narrative

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.

Still Breathing Page spreads shown within London exhibition
Still Breathing Page spreads shown within London exhibition

 

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.

Kieron’s expanded collaboration into person events with D&AD
Kieron’s expanded collaboration into person events with 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.

Kieron’s book cover for Craig David, a valuable piece of work shows how much effort goes into one design
Kieron’s book cover for Craig David, a valuable piece of work shows how much effort goes into one design

 

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.

Lagos Biennial book encased within 7kg concrete bookcase
Lagos Biennial book encased within 7kg concrete bookcase

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.

Lagos Biennial work in progress and parts of the team that made things happen.
Lagos Biennial work in progress and parts of the team that made things happen.

 

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

MA Communication Design 2026 open afternoons

We are holding two Open Afternoons for the MA Communication Design in 2026. These events are open to those interested to apply (or have that applied) to any of our 4 pathways: Typeface design, Information design, Book design and Graphic design. The event is held in the Department and includes a look at our studios, special collections, and historical presses workshop. Pathways leads are on hand, so this is a good opportunity to talk to tutors about your interests and discuss how to explore them in our Masters.

Dates: Monday 19 January & Thursday 2 July 2026

Time: 2-4 pm (UK time)

Where: Department of Typography & Graphic Communication, Whiteknights Campus, University of Reading

Book your place here

This is an in-person event, so we encourage prospective students who cannot join us in person to attend one of the University’s virtual Open Days. These are held regularly and details are posted here as they become available.

Discover more about our Master’s programmes and see our students’ work

For any questions about the MACD Open Afternoon or MACD application, drop us email to typography@reading.ac.uk