10 June 2020 / Coronavirus Update¬† (distraction)
maestro mr kitching & I¬†are off to pasadena in california in early february / we have been asked to be ‚Äėartists in residence at the archetype press part of the the hoffmitz milken center for typography & artcenter college of design /¬†from monday 1 ‚Äď friday 7 february we will be making work at the press & discussing our outcome on¬†the final afternoon / as stated above we will undertake a public workshop on the saturday . . .
The New Courses 2020
After two-years of The New Typography Workshop classes we have decided to make some fundamental changes to our structure . . .
We are continuing to run both one & two-day classes each month throughout the new year, but they will now be focused around working with either specifically metal type or wood letter. This will make the classes more focused on each material & the level of both creative & technical skill can examined. Both are quite different disciplines; both require a sharp mind & careful consideration.
One-Day classes will now happen on a Saturday & The Two-Day will still run on Friday & Saturday ‚Äď beginning with The One-Day Wood Letter Course (2020.4) on Saturday 4 April ‚Äď followed by The Two-Day Wood Letter Course (2020.4) on Friday 17 & Saturday 18 April. The First Metal Type class is¬†The Two-Day Metal Type Course (2020.5)¬†on Friday 29 & Saturday 30 May.¬†(Fees remain at 2019 prices for the time being . . . ).
Due to their popularity & success ‚Äď we have introduced a few extra summer schools. Still working on the seasonal theme ‚Äď these 5-day courses run from monday to friday ‚Äď 10 to 5 ‚Äď with the ambitious objective of producing a substantial outcome such as a broadside or book. The first of these¬†The Very Early Summer School 2020.5¬†runs from Monday 11 ‚Äď Friday 15 May ‚Äď followed by¬†The Early Summer School 2020.7¬†from Monday 20 ‚Äď Friday 25 July 2020.
Students Nicola Dunbar (Australia) / Joana Paranhos (Portugal) / Kara Sims (New Zealand) & Adam Smith (United States) produced an extraordinarily beautiful series of compositions & spreads to create ‚ÄėInternational Types ‚Äď an (slightly larger than) A1 Octavo‚Äô on ‚ÄėThe Very Late Summer School‚Äô from Monday 28 October ‚Äď Friday 01 November. The sheet was designed & hand-set across the last three of the five days as a series of double page spreads with content relevant to the counties the students originated from / it was printed in a very limited edition of 25 on a 120gsm Zerkall & printed in two colours ‚Äď a dark Grey mix (Silver & Black) / & an ‚Äėold‚Äô Red found in an ancient ink tin. The elusive Freddy Williams assisted on the early days of the course & the multi-talented Andy Altmann kindly gave up his precious time as the ‚Äėworkshop consultant‚Äô to crit & discuss the outcomes of the week.
The fabulous Two-Day Course students / Nicky Barneby / Nicola Dunbar / Mark Starbuck / Nil Thyrion & Erica Wolfe-Murray / whipped the ‘Broadside 17 ‚Äď 30 years of the New/Typography Workshop’ into some serious colourful shape . . .
As the year draws to a close, we have added a ‘Very Late Summer School’ at the end of this month & a ‘Two-Day Course’ in November as the last classes of the year until April 2020. Anyone with outstanding ‘gift vouchers’ for 2019 will have to reschedule in 2020. We hope to publish available dates & final schedule for 2020 in sometime in November.
Students / Noah Foley / Emma Jeffery & Linda Yoon produced an extraordinary collection of type specimens to create ‘Broadside 16 / Some Types from The New Typography Workshop’ on ‘The Early Summer School’ from Monday 22 ‚Äď Friday 26 July. The A1 Broadside was designed set & printed across five days in a very limited edition of 25 on a 145gsm Heritage paper & printed in three colours / dark Grey (Silver & Black) / fluorescent Magenta & a ‘velvety’ Red mix. Freddy Williams worked his socks off as the workshop assistant & the fabulous Simon Esterson kindly gave up his precious time as the ‘workshop consultant’ to crit & discuss the outcomes of the week.
Two One-Day workshops with Illustration students & staff from ArtCenter Pasadena US.
Two-Day workshop 2019.4
The thoughtful team of Julia Blom / Mark Starbuck & Marina Wood / contructing the final form of ‘The Brief History of Type’
One-Day workshop 2019.4
The fantastic (& happy) team of Rachel Holland / Esme Power & Anna Wanitschke working on the extremely productive ‘Brief History of Type’ ongoing project
Two-Day workshop 2019.3
with students Matt Alchin / Dicky Milson & Valentina Moccia / with course consultant Rupert Basset & workshop assistant Freddy Williams
13 March 2019
KS & AK are giving a modest presentation
for the Letter Exchange March lecture /
we’d love to see you there & hear your thoughts
Mr Smith & Mr Kitching
The New Typography Workshop /
Teaching Design & Typography through letterpress
Wednesday 13 March 18:30
at The Art Workers‚Äô Guild /
Entrance on the door: members ¬£7, non-members ¬£10, students ¬£5
For their follow-up workshop on the subject of ’empowerment’¬† // Professors Gloria Kondrup & Simon Johnston of HMCT /¬†(Hoffmitz Milken Centre for Typography) / Pasadena /¬†invited more ‚ÄėTypographic friends‚Äô to explore¬†this subject on an intense¬†one-day letterpress workshop connected to ‚ÄėVox Pop LA‚Äô ‚Äď a series of lectures & discussions at St Bride throughout the year / Our visiting consultant Lucienne Roberts ‚Äď who has just finished a ‚ÄėTypographer-in-Residence‚Äô at HMCT came to discuss the intriguing visual outcomes of the day . . .
The Late Summer School
Development work on our ‘new typography workshop’ broadside map of Walworth & Kennington . . .
the two-day october workshop students / Mary Asiedu / Kathryn Forster¬†& Rosey Trickett designing / setting & printing the ‘ornamental’ green spaces for ‘the new typography workshop’ broadside map of walworth & kennington . . .
Development work on our ‘new typography workshop’ broadside map of Walworth & Kennington . . .
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’ ‚Äď a series of lectures & discussions at St Bride throughout the year / Our visiting consultant Lucienne Roberts ‚Äď 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
Printing the Manifesto Poster
Invitations to the launch & ‘Open’ weekend
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 ‚Äď discipline. Because what at first seems to be an Aladdin‚Äôs 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: ‚Äúas 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‚ÄĚ. They plan to pass on their knowledge, and develop student‚Äôs 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 ‚ÄúAlan Kitching: A Life in Letterpress‚ÄĚ was published two years ago. Kelvyn is an experienced teacher, and has an highly varied portfolio of work ‚Äď commissioned and self-motivated ‚Äď 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 ‚Äď from the playful geometry of Hendrik Werkman to the precision of Jan Tschichold ‚Äď was all made using exactly the same metal and wooden type, viscous inks, and heavy iron presses in this workshop. Indeed, Johannes Gutenberg‚Äôs 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‚Äôs 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.
The One-Day course 2018.5
Printing the ‘Open’ poster
Workshop preparation & organisation with help from
Charlie / Kimmie & Sandy
Re-organising in the depths of a cold winter
Moving back in . . .
Our first visit after the new concrete floor is down