Professor Eric Kindel
-
Professor of Graphic Communication
- Research Division co-Lead
- Unit of Assessment Lead
Office
Room B3, Typography & Graphic Communication, TOB2 (Building 21)Building location
Whiteknights campusAreas of interest
My areas of interest link across graphic design and information design history, the technologies and artefacts of graphic production and their social and cultural locations, and the history of letterforms and type. Common to many areas is a concern for material history involving close engagement with artefacts and collections.
Design history
Within the field of design history, I have taken a close interest in Isotype, in particular where its aim and claims of international comprehensibility are worked out locally. This has involved detailed investigations of Isotype work in British colonial West Africa. Interest in Isotype has also overlapped with the study of graphic information in editorial contexts. Additional areas of interest have included studies of the visual-technical artefacts of graphic production (for example, , , and ). Of special concern is their intersection with graphic design over time and the meanings they accrue when co-opted by designers. I have an equal interest in individuals who have exploited graphic technique from ‘outsider’ perspectives to make inventive contributions to design (for example, , , and ).
Stencil work
My interest in the history of stencil work, principally for lettering, text composition, and other graphic mark-making, is longstanding and wide-ranging. Research encompasses visual, technical, social, entrepreneurial and regulatory dimensions of stencil work, revealing practices that are hybrid and in-between, and themes that are perennial and therefore historically durable. The research has extended to collecting artefacts and reconstructing techniques and practices. My aim is to establish a reliable account of stencil work across time, context and location. I regularly give papers and publish investigations into individual episodes that will eventually form a synoptic history. Aspects of the research have been funded by the Arts and Humanities Research Council, American Philosophical Society, Printing Historical Society, and ºÚ¹Ï³ÔÁÏÍø's Research Endowment Trust Fund.
Work presently underway includes studies of: , identifying individuals and assessing their work; the phenomenon of (with Pierre Pané-Farré), drawing on contemporary legal documents, popular accounts, and urban photography; made famous by painters, architects and designers; and early stencil cutting in North America, recovering knowledge of makers and their work. I am also consolidating research resources to support scholarship, for example, , which assembles and describes nearly one hundred sources across more than four centuries and in six languages.
Letterforms and type
Interest in the history letterforms and type is distributed across several areas but is especially concentrated in studies of stencil work where letterforms are often a focus. Of interest, too, is the consideration, analysis and interpretation of the forms and formats of knowledge construction in this area, as demonstrated in .
Postgraduate supervision
I welcome opportunities to supervise doctoral research in areas including (but not limited to) the history of graphic design and information design; editorial design; the history of letterforms, type and typography; and printing technique, especially informal or ‘improper’ kinds. I also welcome supervision opportunities in research involving material history, collections of artefacts, and reconstruction as a mode and technique of historical enquiry.Teaching
I teach design practice, theory, history, research methods, and writing across undergraduate and master’s programmes.Research projects
(Selected)
‘Isotype revisited’ (2007–2011). I served as Principal Investigator for this AHRC-funded project, whose main outcomes included Otto Neurath’s (Hyphen Press, 2010), the exhibition (Victoria and Albert Museum, 2010–11), and the multi-authored (Hyphen Press, 2013). Project team members, activities, and outputs are documented in the website.
‘Monsieur Bery: Parisian stencil maker’ (2005–2006). I served as Principal Investigator for this project to study the professional life, surviving artefacts, and working methods of Jean Gabriel Bery (active from 1760s, d. 1786). Research conducted in collaboration with Fred Smeijers. Funded by grants from the American Philosophical Society and the Printing Historical Society. Preliminary findings reported in (in press).
‘Reconstructing stencilling’ (2000–2001). I served as Principal Investigator for this AHRB-funded project to reconstruct a method of stencilling devised in the 1690s. Presented in and . Project team included Andrew Gillmore, James Mosley and Fred Smeijers.
Typography papers (2003–present). While not strictly a research project, from its fifth volume (2003), onwards, I collaborated on the book series, , supporting its editor, Paul Stiff, in giving published form to research-intensive contributions from many authors. Together with Paul Luna, I co-edited the (2013). I have recently assembled a and produced open access PDF files of articles.
Background
My early interest in design was first pursued through the study of architecture focused on dwellings with enhanced passive solar infrastructure. A BFA degree (University of Michigan, Ann Arbor, 1988) concentrated on graphic design and typography framed by liberal arts and included a self-organised year of study abroad at Ravensbourne College of Design & Communication (London). An MA degree in communication design (Central Saint Martins College of Art & Design, London, 1990) was completed through self-directed work in letterpress typography and the design and production of artist's books. After a period of teaching at CSM, I was appointed research fellow to the project that made . This project deepened my interest in letterforms and type and initiated my long-term study of stencil letters and stencil work. I joined the ºÚ¹Ï³ÔÁÏÍø in 1998 and served as Head of Department from 2015 until 2024.Academic qualifications
MA, Central Saint Martins College of Art & Design (1990)
BFA, University of Michigan (1988)
Websites/blogs
Website
Blog posts (selected)
Selected publications
Design history
Stencil work
(in press)
Letterforms and type
Talks online (selected)
(talk only); (introduction + talk [starts at 7m 40s] + Q&A)
(with Pierre Pané-Farré)