Thursday, 28 September 2017

Free font Arima

Free font Arima has soft edges and a calligraphic feel, it is available ion 16 styles. Arima has a low contrast to allow good rendering on screen. With legibility in mind Arima has a lot of personality to be recognisable as a display font or to be used in more complex hierarchy.

This font resonates with both casual and professional designers, without lowering the quality of the design. Each font in the family was extensively tested on low resolution phones and refined to work well as a web font in the mobile era.

Arima is designed by NDICOVER and can be downloaded free here

Wednesday, 27 September 2017

Sophie Casewell and Josh Grice - Wolves in Wolves Trail

Visual Communication graduate has joined the pack on the ‘Wolves in Wolves’ trail – decorating one of the sculptures which has been taking pride of place outside the Wolverhampton School of Art.

The ‘Wolves in Wolves’ trail was launched on 5th July with 30 individually decorated ‘wolf’ sculptures situated at different locations across Wolverhampton – the largest public art event which has taken place in the city.

Sophie Casewell, 22 from Walsall, decorated the wolf with Visual Communication, Artist in residence Joshua Grice, using designs created by a group of students in a collaborative workshop. HUNTER was created using black acrylic paint rather than colour and Sophie wanted to challenge herself by limiting the materials used to create interesting patterns and lines.

She said: “My starting point for this project was a collaboration piece that was made by some students when we worked with artists, Le Gun, on a project. HUNTER is an exploration of creativity and seeing how looking at one idea can evolve into another. Because it was a collaborative project I related to wolves working together in packs hence the name.

“It’s an amazing feeling to see something you’ve worked so hard on out in the public and it’s great to see people looking for and reacting to the wolves. I’ve seen a few selfies with HUNTER and the feeling is incredible.”

Wednesday, 20 September 2017

2017 Graduation

Visual Communication graduates, their families and friends have  attended 2017 graduation at the Grand Theatre Wolverhampton. The occasion has provided the opportunity to catch up with friends and celebrate the hard work and achievement of gaining a degree in Illustration, Graphics, or Visual Communication.

Congratulations to all 2017 graduates

Georgia Perring recipient of the The Sheaffer Prize for Outstanding Work on Live Commissions in Graphic Communications with Rachel Smallman of Smallman Media, representing Sheaffer

Rhiannon Powell recipient of the The Sheaffer Prize for Dissertation in Visual Communication

Jerome Wooton recipient of the The Sheaffer Prize for The Sheaffer Prize for Use of Language in Graphic Projects with Rachel Smallman of Smallman Media, representing Sheaffer

Wednesday, 6 September 2017

Emma Parry - Sandwich Placement

Visual communication student Emma Parry is spending her next academic year on sandwich placement before returning to complete her degree from September 2018. Graphic designer Emma is on placement working for Fleet Design specialists in vehicle livery designs. Emma's role involves working in social media and branding for the company. Congratulations Emma.

Emma's placement was arranged through the Universities Careers Enterprise and the Workplace department

Research - Books Across The Sea, Beatrice Warde and May Lamberton Becker

With support from a Centre for Print History and Culture, Visual communication lecturer Jessica Glaser,  has contributed to ‘Information and its Communication in Wartime’ a London University conference part of the AHRC-funded project ‘A Publishing and Communications History of the Ministry of Information, 1939-46’. Her presentation, ‘Books as Weapons: Beatrice Warde, May Lamberton Becker and Books Across the Sea’ introduced the transatlantic book exchange founded by the respected Monotype Corporation publicity manager, Beatrice Warde and her mother, journalist and writer, May Lamberton Becker.

The conference brought together a range of international researchers with shared interests in communication in wartime. Many contributors discussed and presented images of British printed ephemera from the Ministry of Information during World War Two and pieces frequently featured typefaces promoted by Beatrice Warde for the Monotype Corporation. Although typography as an aid to communication was not specifically dealt with by the conference, links with the Monotype Corporation and Beatrice Warde, were indicators of Warde’s promotional success as well as the influence and significance of Monotype at this time.

At the outbreak of World War Two Books Across the Sea was established as a vehicle for two-way transatlantic communication and information exchange, revealing Warde and Lamberton Becker’s interest in increasing mutual understanding and goodwill through printed books as well as their desire to repair the moral, intellectual and physical damage inflicted on books during wartime. Functioning with the approval of the Ministry of Information in Britain, Books Across the Sea also had the approval of the Office of War Information, in Washington, an agency that brought together U.S. government information services to deliver propaganda in America and overseas. Initially established with a gift of seventy new American books, unpublished in Britain, chosen and sent as a gesture of encouragement to American and British friends, American book enthusiasts took part in a nationwide correspondence on which the choice of titles was based. By the end of 1941, guided under the chairmanship of T.S. Eliot, the first Books Across the Sea group, known as a ‘circle’ was established in London and attracted widespread interest in the collection which had quickly grown to 700 titles. A corresponding ‘circle’ was established in New York allowing books to pass between both countries in the luggage of friends of Books Across the Sea with transatlantic passage. Speaking metaphorically Beatrice Warde described the organisation as ‘A game of goodwill tennis with the Atlantic as the net’; she believed it allowed books to ‘serve as GOODWILL EMISSARIES, as WARRIERS against the common enemy’, and as ‘EXPONENTS of the genius and traditions of each country’ restoring ‘the prestige of the Printed Book and respect for the Visible Word’.

As a personal way of exchanging cultural understanding, in 1941, Books Across the Sea also established a scrapbook exchange. Initially made by adults and children, books ‘vividly portrayed the day–by-day scenes of life at home and at school and national holidays’. By 1945, the scrap books were popular and in conjunction with Messers Roy Publisher in New York, Books Across the Sea held a competition for the best school scrapbook written and complied by ‘juvenile ambassadors’ with the winner published; there were also plans to exhibit scrap books in the Metropolitan Museum of Art in New York.

Scrap book covers by U.S. and British schools. Part of the Books Across the Sea scrapbook exchange scheme, from a display in 1944. (Cadbury Research Library, University of Birmingham

At the end of World War Two, Books Across the Sea established a London reading room as part of South Audley Street Library and also became part of the English Speaking Union where it remains today, continuing to promote cultural understanding through books.