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Graphic Interruptions book, front cover

Graphic Interruptions has reached some sort of a completion, for now, with the production of a one-off hard back book for an assessment of the project for my masters degree. The project will continue in the background and you can follow its Instagram account here.

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Graphic Interruptions, back cover

I would like to have produced more books and sold them, but because of the production values I insisted on, it means each copy would cost upwards of £60 and I just can’t justify selling copies for that price. However, without going into details at the moment, I have been talking to a publisher and if a book proposal I’m writing is accepted, Graphic Interruptions may enter the public realm as part of a wider project.

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Title page

In the latter stages of working on the project, which had been ongoing since October, I fell back on familiar territory, (see McJunk, links on Elsewhere page), as I needed to create a tangible outcome for a looming deadline. This resulted in me jettisoning explorations into maps, autobiographic writing and psychogeography which had all been part of this project at one point or another. My interest in these makes me certain I will return to them in the future but in order to wrap this up for an assessment I went with what I knew I could achieve.

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The essay I wrote as the introduction to the book will see the light of day here in the near future, but for the time being I’m pleased to call some sort of pause to Graphic Interruptions, at least in relation to my MA studies. It has helped shape my thinking for the next stages of my academic research. And more than that, I’m looking forward to blogging about more than Graphic Interruptions here.

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There has been a surge of typography publications dropping through my letterbox recently. They are all very different in their own ways, but one thing unites them all over and above the excellent content, and that is the very high production values. Unfortunately my poor photographic skills won’t do any of them justice, but hopefully will give some indication that these are objects of desire.

Circular 18
The first that hit my door mat recently was Circular 18, the bi-annual publication of the Typographic Circle. Designed by Pentagram’s Domenic Lippa and Jeremy Kunze, and printed by Leycol in the UK, its oversized A4 proportions and clean pages are a thing of beauty.

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Interviews with a wide range of typographers and designers, from Ruan Hughes and Harry Pearce to Angus Hyland and Andy Altmann fill the majority of Circular 18 with images of the designers’ work relegated to a few pages at the back of the publication. This allows the focus of the issue to concentrate on the words of the designers through confident typography as conversations about graphic design function and working processes take the lead. There is a real sense that this publication was a labour of love for Lippa and Kunze.

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Circular 18 is available free to members of The Typographic Circle, or for £15 to non-members. Email info@typocircle.com for information.

The Recorder
The second magazine I received recently is issue one of the new look The Recorder. Previously published for over 70 years by Monotype, in 2014 it has been relaunched to continue its tradition of looking at the history of typography and contemporary applications.

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In its own words: “Making its first appearance in 1902 … it covered everything from technology and typeface releases to historic features; offering readers an in-depth look at the type industry”. It goes on to say of its relaunch issue: “…features both the heritage of typography, and its contemporary application, focussing on how designers have used and responded to type, and how its influence has played a role in our culture and daily lives over the years”. Like Circular 18, its production quality is second to none, with a gold foiled front cover that wraps around the back, and a range of different articles all treated to individual layouts depending on the topics covered. Sized more like a traditional magazine, this is the least conventional thing about this publication. It must have been a daunting publication to revisit, given its revered history, but designer Luke Tonge has managed to give it a contemporary face that respects The Recorder’s legacy and sense of heritage while making it accessable to a new audience.

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The content consists of articles, essays, reviews and even a photo essay of the great poster artist / printmaker Alan Kitching.

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The Recorder proves to be a critical read, with an excellent article by Sam Roberts on ghostsigns and the ethics of restoration, while Harry Leeson looks at how typography manipulates our relationship with the urban environment and applies theories of class to the field of graphic design. Such depth of discussion in one publication is rare outside of Eye magazine, and The Recorder is a welcome, and beautifully produced, addition to critical design writing.

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(As an aside, I came across an original copy of The Monotype Recorder last year, and I was lucky enough for it to be a version dedicated to the life of Stanley Morison. Unfortunately, due to leaving Tumblr and deleting my The Small Letter blog, my digital archive of this is no longer online, but I am planning to resurrect it sometime soon on a different platform.)

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The Recorder is available for $17 USD from this dedicated website: click here. 

Typograph.journal
Last but by no means least, I stumbled across the new Typograph.journal via various postings from designers I follow on Instagram. Published by Nicole Arnett Phillips, aka Typography.Her, it focusses on design process through her personal reflcetions, case studies of different designer’s approaches to their work, interviews and commissioned exercises. Volume.01, published earlier this year, is titled on its spine: Can A Text Be Both Readerly And Experimental; while the recently published Volume.02 asks: Where Do We Find, And How Do We Feed, Our Creative Energy?

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Smaller in scale than the previous publications mentioned here, it has a pocketable quality that belies its depth of discussion and questioning. Like The Recorder and Circular 18, it is inward looking and aimed squarely at graphic designers, typographers and those interested in print processes, but that doesn’t mean that those outside of these fields will not find anything of interest.

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Phillips is an Australian designer who certainly understands how to create a visually rich and consuming document. In her own words she states: “I believe rigour and critical design thinking is important. As is a great outcome. But no more so than the design discovery and creative play that happens in the middle”. As an outcome, Typography.journal is both thoughtful and inspirational in its content and production, but equally impressive due to the proud authorship Phillips demonstrates—she is a doer and has made this happen, she self-promotes it through social media and is getting people interested in what is essentially a personal project.

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It is also very rewarding to receive Typography.journal through the post as Phillips envelopes the book in its own bespoke wrapping paper and includes print ephemera associated with the release and a hand-written note. This personal approach is a nice touch that reinforces the nature of the publication’s content as well as creating a connection with someone producing such an item half-way around the world.

Typograph.journal 01 & 02 are available to buy either individually or together for $30 AUD from Phillips’ website: click here.

 

What is really encouraging about these recent publications is that critical design writing is alive and well. Longstanding titles such as Eye, Creative Review, Baseline and the Journal of Design History have their specific areas carved out. And with design blogs being in rude health, it is possible to have questioned whether there was ever going to be any more room, let alone demand, for design writing. Well, these bespoke publications prove that there is a market for well produced high-quality material, both in terms of a physical entity itself, and in terms of content.

 

 

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This week saw the first exhibition in London by UCS Ipswich Graphic Design graduates. Titled We Are, the exhibition was held at The Coningsby Gallery, and was a deliberate attempt to try and buck the trend of the morale sapping rigmarole of New Blood, New Designers and Free Range graduate exhibitions, where by thousands of graphic design students compete for attention all at the same time of year and all under one roof. Notably at such events, those from the design industry tend to seek out the courses they already have contacts with, and rarely spend time looking for new talent from emerging courses. What successes come from this first UCS solo exhibition this week are as yet to be seen, but as this was the first of its kind for our students, it was a bit of a trial run and will hopefully develop over the coming years.

It appeared to inspired current first, second and third year students, who we took up to the gallery at various stages this week. And during a very busy period for current final year students as they are in the middle of writing their dissertation proposals and completing course work, they are also preparing for their International Design Auction which will help to finance any such ventures for them in 2014. The ‘We Are‘ graduates ran one last year, and raised nearly £2000 for their end of year show and London exhibition, and if the lots that are coming in so far this year are anything to go by, the 2013 auction is likely to raise a lot more money. There is signed work from Stefan Sagmeister, Tom Gauld, Jessica Hirsche, Milton Glaser, Armin Vit…I could go on, (and on, and on). While in London on Monday to catch the We Are show, current students even managed to find time to visit Margaret Calvert to pick up her 3 donations to the auction, (as well as accept her hospitality of tea and biscuits).

International Design Auction 2013 is being held at University Campus Suffolk’s Waterfront Building in Ipswich on 27 November at 17:30. Check out the lots on the  students’ website for the auction, and follow them on Facebook and Twitter for up to date information.

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A big thank you to Michael at Winklebag for a very enjoyable day last Saturday getting to know how to use an Adana Eight-Five press, and to Claire for organising this day as a Christmas present.

Photos of my adventures here

Previous Dubdog post about Winklebag

Winklebag website

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Next weekend I’m cashing in a Christmas present from Claire—a day at Winklebag Press in the middle of the Suffolk countryside. There I hope to learn how to use an Adana ‘Eight-Five’ letterpress tabletop printer, also a present from Claire.

For my inky day out, I’ve artworked a new title for my Songcard project, (switching Helvetica for Univers in the process as Winklebag have limited typefaces), in honour of our 10th wedding anniversary.

Photos of my progress will follow after next week.

 

I read about Signal: A Journal of International Political Graphics & Culture, when Rick Poynor reviewed issue 02 for Design Observer recently, and his is a much better critique of this journal than I could give here, so I’ll keep this brief. Published in the United States, issue 01 came out in 2010, and went totally under my radar. Now, in 2012, the second edition has been released, I snapped up both as soon as I could. If you are at all interested in political/agitational graphic design, then they come highly recommended. However, I couldn’t promote one over the other as both are as packed with diverse and inspirational content as each other.

The latest issue features articles about Portuguese street murals; a painter from Mozambique called Malangatana Valente Nguenha, ; spreads of front covers of British Anarchist newspaper Freedom, from 1908 to 1917; and Gestetner Art, among other things.

Issue 01 features the adventures of Red Rat, a comic strip by Van de Weert that evolved from the Dutch punk and squatting scene in the early 1980s; Mexican protest graphics that surrounded the Mexico 68 Olympics; the Taller Tupac Amaru printmaking collective; and graffiti artist Impeach, whose work travels the United States subverting ‘wild style’ graffiti on subway trains into Wild West style graffiti on freight trains.

What I like most about this journal, edited by Alec Icky Dunn and Josh MacPhee, is the exploration of different cultures, examining work and contexts that don’t necessarily crop up in books about political graphic design. That, and the mix of historical and contemporary work. Both these things keep this small book alive and relevant, and stops it being filed under history with out any relevance to the modern day. There are some obvious ‘go to’ books for those interested in political visual communication: Liz McQuiston’s two volume set titled Graphic Agitation, Milton Glaser’s The Design of Dissent, and the recently published and excellent Beauty Is In The Street by Johan Kugelberg & Philippe Vermes. However, because Signal is published as a journal, it gives the wide range of contexts and material discussed a connection to the here and now, a relevant voice that suggests a continuation rather than a static recording.

Now that I’ve found Signal, I just hope the gap between issue 02 and 03 isn’t as great.

A big thank you to Michael Dobney for showing Claire and I round the rather wonderful Winklebag this Sunday, a very small letterpress set up in the heart of beautiful Suffolk countryside.

After reading a post I wrote here a while ago about a ‘printing for all’ workshop at the Museum of East Anglian Life, where he also volunteers, Michael got in touch and invited us out for a visit.

Winklebag is a rather inspiring set up, particularly for an ex-printer like myself, and I am now itching to conjure up a job I can put through there. Watch out anyone who commissions Dubdog in the near future, you could be going down an inky route.

It was doubly interesting to see a small tabletop Adana press, which I’ve been reading a lot about recently for my archive blog of old print and type advice books: The Small Letter. Below is an illustration of the Adana “Eight–Five” from the “Beginners Guide to Design in Printing” by Leslie G. Luker, (an Adana publication, as many of them seem to be).

Once again, many thanks to Michael for his time, coffee and chat. Check out Winklebag’s website here.

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