October 2018
Development our ‘new typography workshop’ broadside map of Walworth & Kennington . . .

September 2018
We have been busy making some new work / underway is our new typography workshop map of Walworth & Kennington / here’s a preview of some of the activity . . .

Photographs by Emma Lewis

Tuesday 10 July 2018

Professors Gloria Kondrup & Simon Johnston of HMCT / (Hoffmitz Milken Centre for Typography) / Pasadena / invited ‘Typographic friends’ to explore the subject of ‘Persuasion’ on an intense one-day letterpress workshop connected to ‘Vox Pop LA’ – a series of lectures & discussions at St Bride throughout the year / Our visiting consultant Lucienne Roberts – who has just finished a ‘Typographer-in-Residence’ at HMCT came to discuss the intriguing visual outcomes of the day . . .

Photographs by Quentin Newark

Friday 8 June 2018
Formal launch of The New Typography Workshop

Photographs by Dave Chambers

June 2018
Printing the Manifesto Poster

June 2018
Invitations to the launch & ‘Open’ weekend

June 2018
Hogging the limelight in the Pullens ‘Open’ studios brochure /
a lovely article by Quentin Newark of Atelier Studio

500 Years on Paper 
Kelvyn Smith & Alan Kitching
(by Quentin Newark)
Their ambition is nothing less than a new art school. Based on something most art students rarely encounter – discipline. Because what at first seems to be an Aladdin’s Cave of alphabets, ink pots, wooden type, drying racks, and printing presses takes discipline to operate. Their manifesto offers both a promise and a challenge to today: “as an antidote to the immediate & often dispensable nature of modern technology, the slow articulation of the technical side of letterpress allows the designer to immerse themselves in the focus on craft & revel in the simple joys of making”. They plan to pass on their knowledge, and develop student’s skills with a programme of workshops.
Alan Kitching is a well-known innovator in graphic design, he has spent fifty years first learning the craft of letterpress and wood letter printing, and then using it in ever more inventive ways. His monograph “Alan Kitching: A Life in Letterpress” was published two years ago. Kelvyn is an experienced teacher, and has an highly varied portfolio of work – commissioned and self-motivated – that shows he is of a like-mind with Kitching; although letterpress is beset by restrictions in how it must be set up and handled, those restrictions can melt away to yield typography of the most imaginative and unexpected kind.
After all, much of the greatest innovation in typography to date – from the playful geometry of Hendrik Werkman to the precision of Jan Tschichold – was all made using exactly the same metal and wooden type, viscous inks, and heavy iron presses in this workshop. Indeed, Johannes Gutenberg’s workshop would have looked very similar, we are channelling history here, a living connection that runs backwards through five hundred years of typography.
I have done one of these workshops, with Alan Kitching, and discovered more in a day than a decade of reading books and fiddling on computers. The first revelation was that the type is physical, you have to lift, carefully position, lock, ink, pull, to get even one letter onto a piece of paper. The process itself leads to consideration, weighing, deciding, which is simply not there with a computer. The second revelation was about aesthetics; the old typefaces, the way letters looks made of metal, the aged wood, the smells, the coarse paper, the entire process is an aesthetic overload.
The website lists the range of courses to suit every level of capability from civilian to experienced, and the fonts and equipment available, sufficient to enable infinite variation. And they have amassed a long list of visiting consultants, that reads like a who’s who of current British design; Anthony Burrill and Hamish Muir of fabled design group Octavo to name but two. Any student or young or even older designer lucky enough to come and study here is going to leave stuffed with all kinds of knowledge; a firm grasp of typographic theory, lots of practical ideas, and creative inspiration to last their lifetime.

May 2018
The One-Day course 2018.5

May 2018
Printing the ‘Open’ poster

February 2018
Workshop preparation & organisation with help from
Charlie / Kimmie & Sandy

February 2018
Re-organising in the depths of a cold winter

February 2018
Moving back in . . .

January 2018
Our first visit after the new concrete floor is down