Tag Archives: Graphic design

RSA Vaults Portfolio Review Night

Each year, we have the privilege of hosting a Portfolio Reception Evening for our final year students. Traditionally, this falls in the last 4 weeks of our teaching year – just ahead of the students completing their work and submitting it all for assessment.

The event was held earlier this year due to a changing timetable at our end, the lateness of Easter, and was disrupted by the fallout of mindless Terrorist attacks, but was no less valuable for all involved.

The venue has (for many years now) been at the RSA Vaults building in central London, and our ‘portfolio evening’ is now affectionally known as ’The Vaults’ in the minds of the designers who attend each year.


It’s a significant time for a number of reasons – the opportunity for our burgeoning designers to rehearse talking about their work and respond to feedback from some of the UK’s leading agencies. It also allows industry the chance to see up-and-coming designers in their prime and to take the opportunity to build key relationships that lead to placements, internships and – occasionally, the first job offer.


Our course has always been based on the premise that – at the end of the day, both the design ‘industry’ and design ‘education’ is very much about people, with names and faces and stories to tell, and we have worked hard over many years to build connections & relationships that have weathered many-a-storm. We continue to value everyone who gives us their time and support each year, and this feeds directly into our students’ experience of studying with us, complimenting the regular support they receive back on-campus at University.

At the end of the day, the event is at it’s most rewarding at both the beginning, and end of the evening. The beginning, as you watch nervous faces anticipating the next four hours ‘Can I do this?’, ‘Will I make a fool of myself?’,  ‘What if no-one likes what I’ve done?’, and then the end, as those same people are literally set-to-burst with the knowledge that they’ve been there, done it, and got the reward; ‘I can…’, I didn’t…’ and ‘They loved it…’.


MA London Trip

This March, as part of their Curate & Build module, the MA Communication Design students travelled up to London to attend a number of exhibitions and workshops. Highlights included the Fear & Love exhibition at the Design Museum, a tour of V&A’s Rapid Response Collection with curator Corinna Gardner, and a trip to the St Bride Foundation to explore their vast typography library and collection.







design museum




Special thanks to Lauren Bassam, Corrina Gardner, and Mick Clayton for hosting us!


Various Writings + CAST

Various Writings is an art- and design-based research project initiated by Maria Christoforidou, Lizzie Ridout and Dion Star. It is both a research platform and programme of projects investigating acts of writing.

In February Maria, Lizzie and Dion were invited to undertake a short residency at The Cornubian Arts & Science Trust (CAST), an educational charity based in Helston, Cornwall. The residency was an opportunity to explore what writing is and what writing might become, through the creation of a taxonomy of writing acts and gestures. Various Writings asks the question, how do we write in the first place and why? What are the tools and surfaces that we find ourselves using? How do we define the media that we write with and how does that media, in turn, define us?

As a result of the CAST residency, many of the tests, responses and critical observations have been developed into workshops for a Collaborative Practice project. Various Writings: Collaborative Practice is a four-week project in which Stage Two students elect to work in conjunction with staff on specific research projects.

Acts of Writing

Dion, Lizzie and Maria will deliver a collaborative performed presentation in April at Please Specify!: Sharing Artistic Research Across Disciplines, the annual international conference of The Society for Artistic Research. This year the conference will be held at the University of the Arts Helsinki, Finland.


In July they will also be delivering a paper about their research and collaboration at MIX2017 – Writing Digital, a conference to be held at Bath Spa University and examining the intersection between creative writing, storytelling, media creation and technology.


Dion Star is Stage Three Coordinator and Senior Lecturer on BA (Hons) Graphic Design, Lizzie Ridout is a Senior Lecturer on BA (Hons) Graphic Design and MA Illustration: Authorial Practice and Maria Christoforidou is a theory lecturer across Fine Art, Illustration and Graphic Design at Falmouth and Plymouth Universities.

Graduate Day March 2017

Our annual Graduate Day is a special occasion on the Graphic Design calendar, when graduates from previous year’s cohorts are invited back to Falmouth to recount the experiences of their first formative period of professional working.

This highly valuable event allows current students to learn of the successes and challenges that are all part of the journey in achieving that important first rung on the career ladder. Whilst it’s great for the students to hear of the amazing achievements of the group, they also get to hear the reality of the motivation and sheer hard work that follows the completion of their degrees and the importance of perseverance and developing a thick skin to help achieve one’s goals.

We were delighted to have welcomed the group of nine young designers to give short talks in the main lecture theatre in the afternoon. The group also ran seminar discussions in the morning with final year students to share stories of ambition and encouragement for the last period of their degree study.

grad day_fraser

Importantly, the selection of graduates for the day is made to paint a broad picture of career direction and opportunity, with design destinations including work at Penguin Books, The Partners, Oxfam, B&B Studio, LPK and GBH.  The selection also includes other strands of stepping stone after a degree, including going into Design Management and also following more academic routes, by going onto Postgraduate study on our own MA Communication Design course.

Thanks go to graduates Alex Bride, Cassy Bull, Matt Caldwell, Matt Churchill, Fraser Donaldson, Dan Prescott, Georgie Rait, Rosie Stevens and Queenie Wong.

grad day_chat

The central narrative

Each year, our first year students embark on a project that explores the idea of storytelling – the foundational premise upon which most graphic design (and arguably communication in general) is based. Understand the place of storytelling in our craft, and you are likely to build strong, believable visual narratives.


We explore pace, flow, rhythm and tone of voice to aid the engagement with (and comprehension of) a given story or message. We encourage the students to begin with a personally authored piece of writing, to then research within and beyond graphic design (film, poetry, creative writing, photography, and so on…) and experiment with a wide variety of visual responses. The hope is to nurture diverse and experimental approaches to narrative and move beyond conventions of (in this case) the traditional book.


At the end of the module this year (as is our practice), we created an exhibition of the work and invited the rest of the course to share in the fruits of the first year’s efforts (and scare a few second and third year students in the process!). Of particular note this time around was the care in production of many of the books (thanks again to Megan Stallworthy for the workshops), and the time spent considering the initial stories – many of which dealt with sensitive or poignant moments. The samples shown here were all produced by our first year students (who have been with us for just under 20 weeks), and they wrote, designed and hand-made the books in just 5 weeks!




Coming up!

Industry engagement in central to the course and this year has been no exception. In November second year students selected from the study trips arranged by the course.

In London, students received presentations and industry insights from some of the leading design studios, including Biblioteque, Bartle Bogle Hegarty, B&B Studio, Brand Union, The Chase, Design Bridge, Hat-trick, JKR, Lewis Moberly, Kessels Krammer, Made Thought, NB Studio, The Partners, Pentagram, Someone, Sea, Thomas Matthews, UsTwo and Weiderman Lampe.

In Amsterdam, alongside cultural visits to the city, the Stedelijk Museum and Design Museum Breda, students too visited a broad selection of studios. These included the advertising agency Wieden & Kennedy, AKQA, LUST, Silo, De Designpolitie, Trapped in Suburbia, Vandejong and 72andSunny.

The course continues to attract influential figures in the world of design to deliver talks and workshops for our students. So far this year we have had Pentagram partner Naresh Ramchandani, Phil Carter of Carter Studio, Art Director of Monotype’s magazine Luke Tonge, Simon Manchip from Someone and Chintal Darjee from The Future Laboratory. Other speakers and visiting tutors in this field include artist Gordon Young, publisher Anna Gerber of Visual Editions and museum curator Sarah Brin.


Forthcoming events in March

Graduate Day. This yearly event invites graduates from the previous year back to Falmouth, so current students can hear the stories and challenges of life and work outside of University

Creative Career Journeys.  Creative Director Jamie Ellul of award winning Supple Studio, will be running a day of seminars and portfolio ‘drop-ins’. His lecture will tell the story of his career journey to date, working and learning with some of the most highly respected graphic design studios in the UK, including Hat-trick and Magpie.

Graphic in Motion. Ideas today are delivered across many platforms both digital and analogue and the course is pleased to welcome motion graphics, TV designer and director Mark Chaudoir who will talk about his exciting career on screen.

Portfolio advice event in London. The connections we have deliver critical stepping stones to career success and the portfolio review evening at the Royal Society of Arts in London is vital for this. The capitals’ top creative directors and designers are invited to discuss student portfolios, offering advice and a little extra polish, before the final degree show in May.

Preparing for placements. The course has a great track record of providing placements for students at many of the UK’s most respected studios. These world renowned studios generously support our period of placements at the end of the second year, enabling our students to get a real taste of working in highly creative and successful studios. We normally expect to place between 60 and 80 students at this period of study. The final year who will be preparing final portfolios at this time, also make use of our extensive network of contacts, so they can begin to set up there own placements and first steps into the workplace upon graduating.

D&AD New Blood in July. As well as our portfolio evening, the course shows student work and hopeful winners at the industries top central London show. This is great shop window for the course and student work, with many introductions made as top studios shop for the years’ new talent and potential employees.

World class is a phrase often loosely banded about in higher education but in the field of Graphic Design Falmouth can justifiably make that claim”. Ben Casey, External Examiner and Founder of The Chase, (one the top creative design consultancies in the UK)

STUFF Student collections Moth Design & Death + The Studio Society

Following on from the Staff STUFF Collections, which were exhibited at the end of last year, students from the School of Communication Design were invited to exhibit their personal collection of STUFF. This collection could be one which has been added to over time, bequeathed to them, multiples of objects accrued as a result of habitual buying, a chance encounter at a boot fair.

MOTH: design & death has been interested in working with staff and students instigating projects which encourage enquiry using objects and artefacts as triggers for hidden memory, micro/macro, parts and whole, constructing and de-constructing, a passion for ‘rejects’ and fragments. This projects extends into The Studio Society which seeks to promote opportunities for the community of the Graphic Design Course to share, comment and contribute to the course beyond the curriculum.

Over the last four weeks students have shared some of their collections, giving insight as to why they have this STUFF and what it means to them.

Collection_01 | Jocelyn Affleck | Story Book


‘Everybody has a story to tell, but it’s tricky to find it. I take this book with me everywhere as a conversation starter and from there on people feel like they are part of something – part of this wide network of stories all held within the broken binding of this book’  Jocelyn Affleck

Collection_02 | Louise Osborne | Royal Memorabilia | Victoria Boyle | Black Cat & Socks | Chris Rees | Keyrings


‘No amount of frills, ribbons or official crests can disguise the naffness of these objects. Such an ornate form of tat, they are simultaneously beautiful and hideous. Quite an impressive combination in all honesty. Essentially I find them amusing, a completely bizarre thing to have in your home. However for such a simple object they open a variety of discussions and memories’ Louise Osborne

Collection_03 | Su Lee | Eating Habits | Sylwia Cwieczek | Trophies | Ciaran Saward | Calendar of Blades


I could never even think about my trophies as a collection. You can’t buy those objects, get them as a gift or find them in the middle of the field. Even though you might like their shapes and colours it’s not why you own them. You don’t decide to collect them, they’re actually only a side effect, a proof, something that reminds you what happened.Sylwia Cwieczek

Collection_04 Friday | Charlotte Skerratt |Sea Glass | Lucy Carpenter | Bottles | Armelinda Beqiraj | Imperfect Images


‘I’m so in awe of how nature has managed to create something so alluring, turning our waste into beauty. Although mere fragments of glass, they’re special to me as they remind me of happiness, the feeling I got when I found a special piece or rare colour. The people I was with, how the beach looked and sounded one evening. Within each piece is a snippet of time holding years of history and wonder.’ Charlotte Skerratt



Werkwoche | International Design Week 2016


Dion Star, Ashley Rudolph & Andy Neal were invited to take part in this year’s Werkwoche 2016 delivering a 5 day intensive workshop [STÖRUNG] – Disruption / Design Process. Including three lectures relating to their individual research interests.

International Design Week Werkwoche was launched by the Faculty of Design of the Augsburg University of Applied Sciences in 2013. The idea was to highlight the role of design and its related fields and to create a platform for national and international exchange.

Now the Werkwoche 2016, has become a vibrant five-day-event with the focus on current and future design trends. 15 designers and lecturers from eight countries explore, discuss and showcase the importance of design as an innovative tool, it fosters exchange and raises awareness of the vital role design plays in our lives.

Workshop overview



We all have our own ‘design process’ – the way we go about doing what we do as designers. The [ S T Ö R U N G ] workshop was to be an intensive opportunity for students to consider the ‘what’ and ‘why’ behind their existing design process, and to look for ways of building on and developing new patterns of working. Students were asked to consider the things they already know and utilise, asking key questions such as; “Who am I? How do I work? What do we know about processes already?”, plus an interrogation of some key barriers we face to our creativity (“What gets in the way?”), and then move through less familiar (and sometimes uncomfortable) experiences that consider emotion, language and expression as tools for new thinking.

Bodmin College: Graphics Taster Day

The School of Communication Design hosted a taster day for students of Bodmin College on Tuesday 22 Nov, this is part of an ongoing relationship to support and host students in our Graphic Design BA(Hons) course .

The students accompanied by their tutor Jamie Baldwin were given an introductory talk by Bryan Clark, Head of Graphic Design, followed by a one-day narrative brief. They were invited to create a book interpreting the story of Red Riding Hood using only typography and shape along with a limited colour palette of red, black and white. Working with staff, Nikki Salkeld (Senior Lecturer and Course Coordinator for Stage 1) and Darren Whittington (Senior Lecturer with Graphic design and Advertising) as well as first year students, they had to reach a deadline of 3pm.  There were some very beautiful and considered outcomes which, demonstrated breadth and creative enquiry.


STUFF Collections

All staff from the School of Communication Design were invited to exhibit their personal collection of STUFF. This collection could be one which has been added to over time, bequeathed to them, multiples of objects accrued as a result of habitual buying, a chance encounter at a boot fair.

MOTH: design & death has been interested in working with staff and students instigating projects which encourage enquiry using objects and artefacts as triggers for hidden memory, micro/macro, parts and whole, constructing and de-constructing, a passion for ‘rejects’ and fragments. This projects extends into The Studio Society which seeks to promote opportunities for the community of the Graphic Design Course to share, comment and contribute to the course beyond the curriculum. Over a three week period staff will be sharing some of their collections with you giving insight as to why they have this STUFF and what it means to them.


Nikki Salkeld

Senior lecturer / Course Co-ordinator (Stage 1) // BA (Hons) Graphic Design // The School of Communication Design

Virgin Mary

“And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars” Revelation Chapter 12.

Infant School age 5. I was chosen to be Mary in the nativity play. Dressed in blue, I held my plastic baby Jesus with the greatest care and pride and whilst angels, kings and shepherds spoke their lines, I remained a silent but pivotal presence on stage my importance only eclipsed by the baby ‘Tiny Tears’ in my arms.

Fast forward to the 90’s, my MA dissertation at the Royal College of Art on the The Cult of the Virgin Mary: The Pagan Goddess / The rise of the Cult in the middle ages / Contemporary perceptions of Mary. I’m still in love with her.

Her cult is truly rooted in the middle ages reflected in art and architecture, glorious cathedrals more splendid than palaces built for earthy queens dedicated to her glory. A true Queen of Heaven, whilst retaining earthly humility, as the intermediary between heaven (God) and earth (humanity). The medium through which prayers can be answered and miracles made possible. To enter into a church dedicated to her we symbolically enter into the body of Christ’s mother, this metaphor offers us the same protection, love and possibilities of new beginnings.

The more I studied Mary, the more fascinated I became with her. I visited convents, struck up ‘friendships’ with nuns and went so far as to fill in the paperwork to convert to the Catholic faith. Mary was my intercessor into this fascinating and complex world in all her many guises: Mary the Great Earth Mother, The Virgin Queen, The Mascot in the fight against heresy, The Muse, The Queen of Courtly Love, The mascot of female submission, The Mother of God, Lady of Poverty, The giver and maintainer of life, Mater Dolorosa (sorrowing Mother), Mary The Queen of Peace.

With my head and heart Mary is both a successful branding project by the Catholic Church along with being a Divine Mother. Her origins exist in myth, faith and propaganda, out of a need for true spiritual guidance as well as a mechanism for female suppression in a patriarchal world. Whatever skeptics may think, for true Marian devotees she continues to reign in all her many guises, for them there is no matriarchal image more potent than that of the Virgin Mary and her divine child.

With our fragile planet and the uncertainties it faces, some might argue that we need to return to a world of goddess centered understanding, if we wish to preserve this earth and live in peace. The return of the Great Earth Mother.


Ashley Rudolph

Senior lecturer / Course Co-ordinator (Stage 2) // BA (Hons) Graphic Design // The School of Communication Design

Boxed collections

Beer Mats / Dice / Stencil letters

Butterfly’s /Slides / Stationery stickers

These boxed collections have been in my possession for 20 years and have escaped the purge of 9 house moves. They weren’t discarded with other disused, out grown items. In their everyday life they sit in the dark amongst the loft insulation, not on display.

What is their value to me? Why have I kept hold of them? When I look through them they invoke excitement within me, hinting at a hidden potential for transformation or applications for unrealized future projects. They were once someone else’s passion, an unknown someone. I have kept them in the boxes they were stored in or that the collector contained them in. I have never wanted to contain them in anything else, to me the storage is as important and part of their journey into my custodianship. The thought of tipping them out into a carrier bag would fill me with horror, but that is the strength of the connection I have with these collections. I think that this reaction is because they reflect a long forgotten passion, someone unknown to me put these collections together and without my intervention, they would surely have become just another land fill item.

What are their untold stories? Who knows? Is it even relevant? I can only guess at it.

The beer mats, of the visits to the pub, of the beers drunk, some unused, picked up and stored away safely in a pocket before being transferred to the shoe box at home. Or a child’s collection brought home by father as a free souvenir in harder times. The dice, an object of chance, for decisions made, fortunes lost or gained, entertaining, full of regret. Each dice has a character of its own with a secret life stories, they have all been separated from their board game families. Orphans of chance.

Lizzie Ridout

Senior Lecturer // BA (Hons) Graphic Design // The School of Communication Design

Dion Star

Senior lecturer / Course Co-ordinator (Stage 3) // BA (Hons) Graphic Design // The School of Communication Design

Code–Tool–Surface: Future Forms of Writing

Is posting a Facebook status, writing? Is texting, writing? Is typing, writing? With multimedia changes affecting how we deal with economic, political and social interactions, there is much focus is on how we read information. But how do we write in the first place, and why? What are the tools and surfaces that we find ourselves using? There is substantial research surrounding ‘reading and the digital device’, but what of the gesture that (possibly) precedes reading? And what are the implications on these gestures as a result of these new digital surfaces?

Lizzie Ridout and Dion Star – working under the guise of Code–Tool– Surface with Maria Christoforidou – are collaboratively exploring writing gestures through practice and theoretical enquiry. The material displayed here comes from Lizzie and Dion’s private collections that both precede and support some of the thinking for Code–Tool–Surface.

Lizzie’s collection of exercise books began as a teenager when she visited different towns around the world and became intrigued by the diversity of forms that the lines in a basic exercise book could take. The collection was never a conscious amassing, but grew over the years as she travelled more and as international friends offered up additional examples.

Similarly, Dion’s desk notes have been gathered over a number of years and constitute any message left on his desk, without specific criteria as to form or content. They form a glimpse of a set of voices made solid over time; a series of demands, statements and musings, linked only by the person to whom they have been communicated.

Lizzie and Dion’s joint taxonomies of digital files, both stored on their respective computers and ever-growing, are combined here as an animation. They bring together Lizzie’s portable document symbols and Dion’s book logos into one loop. Both Lizzie and Dion are here concerned with the classification and ordering of two apparently simple icons to reveal diversity and complexity in the surfaces upon, and the containers in which we write.


Joseph Payne

Senior Technician Software Skills Development // The School of Communication Design


For as long as I can remember there have always been Comics and Comic Books at close hand. Maybe The Beano or Dandy were the first I saw, I can never be too sure. What I am sure of is the first time I realised that Comic Books can be something other than the mischievous tales of a naughty boy and his pet dog.

My older brother and sister had paper rounds at the local newsagents and every now and again they would come back home with stacks of magazines, papers and Comics. The publications that hadn’t sold that week were shared out between the Paperboys/girls as an extra thank you or (more likely), given away to make space. Usually these stacks were a mixed bag of Women’s Own, Just Seventeen and Whizzer and Chips and would occupy an area of the house for a few days before ending up in the bin (no recycling back then!). Anyways, one week the stack had some radically different additions. Hidden within the stack were three Comic anthologies. 2000AD, Warrior and (most notably) issue 1 of SCREAM!

SCREAM! had everything I didn’t know I wanted in an anthology. Gross out horror in A Ghastly Tale, the twisted morality of The Thirteenth Floor and Monster, a story that would introduce me to the genius that is Alan Moore… Point is, I remember it. I remember carefully peeling off the free Dracula Teeth from the cover… I remember the smell of the paper and ink… I remember studying each panel and taking in every detail… I remember reading (and not always understanding) the bizarre stories… and I remember that I wanted more.

So began the collecting, loosing, selling, buying, swapping, lending, giving and reading of Comic Books and Graphic Novels. I’ve got my favourites for sure. Characters, writers, artists, and nostalgia will always play a part in influencing my purchases. I’m always going to have a soft spot for Batman, in every incarnation… Locke and Key is an astonishingly good story and the artwork is outstanding… The Crossed is the most extreme/no holds barred Comic Book I have ever experienced… and Pride of Baghdad is a touching tearjerker that took me by surprise…

But… I do have an overall favourite.

It’s a book I have owned more times than any other book in my collection. It’s a book I buy and then end up giving to the people who say “all Comics are the same” or “Comic Books are for kids” or “aren’t you too old for this?”. It’s a book that relates directly back to that time in ’84 when I turned the pages on Issue 1 of SCREAM! It’s a book that makes a comment on every trope, stereotype, cliché and archetype within the medium. Essentially a Comic Book about Comic Books… WATCHMEN written by Alan Moore with artwork by Dave Gibbons and coloured by John Higgins. By far my favourite and soon to be part of my collection once again.


Andy Neal

Senior Lecturer // BA (Hons) Graphic Design // The School of Communication Design

Vintage puncture repair kits

For my twelfth birthday, I was given a new bicycle. This was clearly a big deal for my folks, as they’d talked openly about never buying new and suffice to say I was over the moon and rode it everywhere. At least, for a while.

I’d love to tell you that it was my pride & joy, religiously cleaned after every ride, and the foundation of my interest in things bike-related. As is often true with young kids, my limited sense of the bike’s value (material & otherwise), my ignorance of the sacrifice my folks had made, or the weight of new responsibility entrusted to me was, sadly, lacking. Spectacularly so, in fact – as in less than a year it was relegated to the back of the shed, cosmetically battered, with flat tyres and a rusted chain.

In a moment of brilliance, my Dad decided his now teenage son could benefit from a lesson in accountability, and instead of reading me the riot act, woke me up early one Saturday armed with a selection of odd-looking spanners, some wet-n-dry sandpaper and old rags.

Over the next month or so, we stripped the bike back to its component parts – systematically archiving smaller items and drawing diagrams to aid reassembly (Dad is an engineer by training). I learnt about cotter pins, quill stems, and the ‘bottom-bracketremoval- tool’ that we had to buy specifically for the project. We sanded (or rather, I sanded – probably as some cleverly conceived form of punishment for my negligence) the whole frame & forks, primed and re-sprayed the metal back to its former glory, re-greased bearings, bolted and tightened everything back into place, wound new bar-tape, and then, as the final task – mend the punctured tyres.

I can still remember (almost in filmic slow-motion) picking up the small red & yellow puncture repair tin, opening the metal lid and being totally bemused as to the contents. Suffice to say, I learnt how to fix a puncture, and proudly rode the restored bike for several years to follow. Interestingly, it was only at this point – in its reincarnated state that my interest in things bike-related was born.

During my later teens, I rebuilt three more bikes before leaving home. More recently, I’ve spent time with my own kids going through the same process, and picking off a few choice renovations of my own. Sadly, the original Dunlop repair kit was lost in a house move, and it was only during one of the recent rebuilds (and a chance find on eBay) that I stumbled across a duplicate. Over the past five years (on-and-off) I’ve started collecting more tins (British, metal, with or without contents) with no real urgency or objective. I just like them as objects, and although they currently live in an old shoebox, they are soon to make it into their own custom-made box-frame for permanent display.

On reflection, there is huge value for me in what they represent; the longevity of bikes; ‘closed loop’ design; reuse, repair & recycle (no pun intended); patience as a lesson worth learning; and ultimately the benefits of buying wisely and looking after your stuff.


Bryan Clark 

Head of Graphic Design // BA (Hons) Graphic Design // The School of Communication Design

Cookbooks and recipes

Making, sharing, and discovering food have been central to Bryan’s life and that of his family, as is the case for many. Recipes held in the mind or within the pages of a cookbook rekindle memories of people, moments, experiences and emotions. These ideas are passed down through generations or built through the experiences we have through our own lives and careers.

The collection you see shows books and recipes passed on by grandmother, father and wife, with a further selection (opened) of those Bryan may choose to pass on himself. They are well used, often adapted and changed and show the patina of age and use. Also on display are a small collection of hand written and collated recipes; another form of culinary ‘baton’ used to record and curate. The collection is about food and memories but also one of design anthropology; the rituals, aesthetics and interactions of the world in which we live as individuals and as tribes or families of people.

The collection shown spans over 100 years and alongside the inevitable analysis of domesticity and the role and identity of the cook in post Victorian England, the books also offer a talisman to the impact of historical counterpoints across this time. Whether the effect of world wars, the changing workplace and home, social mobility, gender politics, travel and print and media evolution.

In Isabella Beeton’s book, as a newer 1950’s edition of the original 1861 version, the change in the future of cooking is clearly prophesized in its preface;

“The world, especially since the war, has travelled at electric speed and the changes of time have touched household affairs from standpoints apparently far remote… Increased habits of travel have taught us favourite dishes of other countries, while improved means of transport have brought to our doors fresh food supplies from all quarters of the world, especially from our own dominions”.

The books do chart a systematic development of how domestic cooking has changed and is inspired but importantly, as a personal collection, they chart an individual’s own journey. This may be through family, travel, career experiences or design knowledge.