What is Typography? Typography1 is the art of arranging type. It is more than just words as it influences your text to portray character, style and pace. Text is rendered in different ways to fulfil different jobs and meanings. For example, the first image’s text features ‘Transport’ type for ease of reading. The second image features the script font ‘Edwardian Script ITC’ which is more of a decorative type and no good for instructions.
Typography
Typography
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Image of UK transport sign2 Transport heavy font3
Basic Conventions of Type for Designers4 Size: No typeface is the same4.1, height-wise or width-wise. Each typeface is different so will take up different amounts of space, even if the font point size is the same. The ‘x-height’ refers to the height of the letters, simply named as it is based on the letter ‘x’. It is a wise move to use fonts that share a similar x-height when pairing them. The ‘set width’ refers to the width of each letter, this includes the space between each letter (which can be adjusted by altering the kerning between each letter). The point system, which measures different types, dates back to the 18th century. 1pt = 1/72” and 12pt = 1 pica (the unit measuring the width of columns). Other ways to measure types, which is usually uncommon, is in pixels, millimeters, or inches.
The x-height5
Demonstrating kerning6
Hierarchy and scale: This is an important balance to achieve within design. Very simply, and also obvious in most publications, the header is big, with the sub-headings smaller, and the body type even smaller than that. Spacing and weight also achieve different levels of hierarchy, as does colour4.2. See example7 below.
THIS IS THE HEADING AND NOW THE SUBHEADING And this is the body text, with some more body text. Still body text. Continuing body text. With more body text. End of text. Leading: This is the term for the vertical space between each line of text. Originally, when using metal typesetting, strips of lead were used to separate lines of text. A general rule for most types is that the leading value should always be bigger than the font size. This is usually between 1.25 and 1.5 times.
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Leading is from baseline to baseline8
Tracking and Kerning: Tracking describes the act of spacing all characters evenly. Kerning relates to altering the space between characters to create an aesthetically pleasing pair. Using the example to the right9 of an ‘A’ and a ‘W’, most of the time their diagonal strokes are kerned which allows the bottom right of the ‘A’ to sit below the top left point of the ‘W’. Measure: This is probably the most easy to understand term within typography. It simply refers to the width of a block of text. When creating a magazine, brochure, flyer, or any publication with any significant amount of text, it is extremely important to get this right so the reader has an easy reading experience. The Empire magazine example10 shows exactly where these blocks of text are, and the measures are indicated with red arrows.
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Font Psychology Beginning with Formal Script11 fonts, which in themselves are divided into formal and casual scripts. Digital formal scripts were originally based on handwritten, quill letter-forms by 17th and18th century writers like the three Georges: George Snell, George Bickham, and George Shelley. Typefaces by these writers became available in the 18th and 19th century. The quills and metal nib pens are both able to create thick and thin lines within each individual letter. A popular, contemporary version of this style of script typography was created by Matthew Carter, and is named Snell Roundhand. Formal script fonts invite a sense of sophistication. This style is often used for invitations, headers on menus, announcements, and decorative first letters.11
Casual Script fonts appear much less
formal, and much more active and free. Just like formal scripts each letter width can vary from thick and thin, but look more like they have been created using a wet brush instead of a pen nib. After the emergence of photo-composition in the mid 20th century these casual scripts became increasingly popular. They were used across Europe and Casual the USA throughout the 1970s in advertising. Examples of casual script Formal are Brush Script and Mistral. Further replicating a more free, handwritten style some of the casual scripts’ letters may not connect, for example Cursive . 16
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Serif14 fonts began way back in the Roman times, and was found carved into ancient stone. There is a little debate about how the serifs first originated. The first explanation comes from the 1968 book ‘The Origin of the Serif’ by Father Edward Catich, which explains that the Roman letter outlines were first painted onto stone as a template and then carved out of the stone which created the serif marks. Most people agree with this theory, but others speculate that the serifs were deliberately created to make the ends of chiselled lines neater.
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A popular use of a serif font is the old Google logo. The simple font appears traditional, which reveals a calming and reliable impression. Sans serif simply means, without serifs.17 In the past the oldfashioned term used to refer to a lot of Gothic typefaces, and is still used in East-Asian type. Century Gothic and Franklin Gothic are key examples of sans serif. Commonly used with social media logos, this style of font often has connotations of being clean and modern, much like social media itself. It gives off a professional, sleek look just like in the LinkedIn, Facebook and Eden Project logos. It also makes things much more readable than a decorative or script font. For example, this report is written using Helvetica which is a sans serif font.
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Decorative typography give the impression that it has been
drawn rather than been typed. An easy way for anybody to do this is through myscriptfont.com, where you can draw each letter and the site will create it into a font for you. Another way to create a decorative font is to draw each letter and edit it accordingly on computer software, such as Adobe Photoshop and Illustrator. Either way, your drawn type will end up as a digital version for ease of use within publications. It is better to not use decorative fonts for reading webpages17.1. “Disney know’s how to please”17.2 in terms of pleasing aesthetics, it looks fun, playful, and most importantly it catches your eye. Examples of decorative type feature within a range of publications. My ‘Save the Date’ card is a key example of my work where I have used someone else’s typography. It adds a fun, interesting and unique style to each piece. The Disney logo is also a good example of a hand-crafted type which is has been made into a recognisable, familiar, characterised type. The final main form of typography is MODERN. This has been influenced by both decorative and sans serif. This style is designed to be progressive, alongside the fast-paced world we are living in today. It is associated with being stylish and strong, and is strongly correlated with modern forms of technology. For example, the Uber and Hulu logos are cleancut. This style of typography almost seems like each letter in an individual glyph. 3
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Current Trending Typefaces24
Futura (1927) - This typeface was designed by Paul Runner
and released in 1927. Based on sans-serif, its geometric qualities revolutionised design in Germany, as it was common for most books to still be printed using heavy, black letter types. This type has continued to be very popular for the past 85 years. Stanley Kubrick, director of A Clockwork Orange, and Wes Anderson, director of Grand Budapest Hotel, both consistently use this typeface. It has also been used in Volkswagen advertising since the beginning of 1960. It is still the most prominent typeface across all of the web. Apercu (2010) - This “grotesque” sans-serif font was created by an individual type foundry, Colophon, set up by the UK-based studio The Entente. It is one of the newest types out there, designed in 2010, so does not carry as many revolutionary connotations as more historical fonts. Colophon say Apercu is a combination of several fonts, such as Franklin Gothic, Gill Sans, ITC Johnston and Neuzeit. This “grotesque” type is very recognisable as it carries more personality than other similar fonts. Unfortunately, this font is only available to buy and does not offer a free download anywhere on the web. It is available in light, regular, medium, and bold (all in italics too), for those who want to purchase it. Proxima Nova (2005) - This hybrid of Akzidenz Grotesk and Futura was designed by Mark Simonson. It is described as having a “geometric appearance with modern proportions24.1”. Students and start-up designers often use this type but it requires an expensive license, so the closest font I could use is called Montserrat, which is an almost identical experimental type. Both are available in a 7 different weights, ranging from thin to black, all available in italics and small caps, alongside condensed and extra condensed widths.
Avenir (1988) - Similarly to Futura, Avenir is also geometric and sans-serif. It was created by Adrian Fruitger. This type is almost identical to Futura (after all, its name is French for future), but the tails of the ‘o’ and ‘t’ aren’t perfect circles. Avenir came 1st in a poll on Typewolf voted for by designers. With matched up oblique versions, this type comes in light, book, Roman, medium, heavy, and black.
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Brandon Grotesque (2010) - This type is very similar to quite a few of the above. It is geometric and sans-serif, just like Avenir, Futura and Proxima Nova. It is “grotesque” just like Apercu. And has the geometric qualities of Futura and Proxima Nova. Hannes von Dohren is a German type designer, and he created this type which has been largely influenced by many fonts of the 1920s (just like Futura, but more so Erbar24.2). This type is available in 6 weights, again with correlating italics, but also has a brother font called Brandon Text which features a higher x-heigh, therefore making it much more fitting for body text. 4
Table of Type Terminology
Apex
The point where the two strokes meet at the top of a character.
Baseline
The line where most letters “sit’ on and other characters’ descenders extend.
Cap Height
How high a capital letter extends above the baseline.
Copy-fitting
The process of fitting content, text or images into any given space.
Diacritical
Usually used within other languages. A mark or sign that is attached or just above/below a letter to indicate phonetic stress. A symbol, spacer, character used within typesetting. Often used within box frames.
Dingbat Display Fonts Alignment
Fleuron
Kerning
A
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Example throughout this report
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These types attract the reader, often used to evoke a feeling or emotional response. This is the placement and setting of an text in relation to a page, column, table or article. Also referred to as justification. The edge of a page or column is the margin, whilst the gap between columns is called a gutter. An element of glyph often used as punctuation or an ornamental icon within compositions. These are stylized forms of flowers or leaves. Derived from the French word for ‘flower’. The proportional space between characters to create an aesthetically pleasing layout.
Leading
The space between baselines of lines of text, usually within body text.
Glyph
An elemental symbol, intended to represent readable characters.
Point
The smallest unit of measurement. Used for font size and leading etc in a document.
Serif
Used within some types, a slight projection of a letter. Widely argued it originated from chisel marks in Roman stone carvings.
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April Apr il April
- ker ning 1 00 - kerning 200
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ABCDEFG
Sources: 1 - http://designinstruct.com/tools-basics/the-basics-of-typography 2 - http://www.clipartkid.com/images/448/blank-road-sign-clip-art-success-UNrzrM-clipart.gif 3 - http://www.cbrd.co.uk/fonts 4 - http://www.creativebloq.com/typography/what-is-typography-123652 4.1 - http://www.creativebloq.com/typography/what-is-typography-123652 (author: creativebloq staff) 4.2 - http://www.creativebloq.com/typography/what-is-typography-123652 (author: creativebloq staff) 5 - http://www.ohio.edu/people/aw790310/vico361/wentt_final-site/img/anatomy/x-height.png 6 - https://i-msdn.sec.s-msft.com/dynimg/IC581877.png 7 - my own example 8 - https://patriciasdesignsite.files.wordpress.com/2015/01/leading-example -01.png 9 - my own example using my initials 10 - http://i.imgur.com/BWkvj.jpg 11 - https://www.fonts.com/content/learning/fyti/typefaces/scripts 12 - IMAGE https://en.wikipedia.org/wiki/Roman_square_capitals 13 - http://mascola.com/wp-content/uploads/2013/10/serif.jpg 14 - https://books.google.co.uk/books?id=uo1j1buy2qYC&pg=PA173&redir_esc=y#v=onep age&q&f=false 15 - www.google.co.uk 16 - my own work for Eden Project - possible wedding stationary design 17 - ‘Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students’ by Ellie Lupton 17.1 - https://crew.co/blog/the-science-behind-fonts-and-how-they-make-you-feel/ (author: Mikael Cho) 17.2 - https://blog.crazyegg.com/2013/07/05/psychology-of-fonts-infographic/ (author: Ted Hunt) 18 - https://www.linkedin.com 19 - https://www.facebook.com 20 - https://www.edenproject.com 21 - http://1.bp.blogspot.com/-HL8GoP-CwUE/VS6HopZ9quI/AAAAAAAACGg/FkY1GPbU4K8/ s1600/Disney-logo-vector.png 22 - http://www.uber.com 23 - http://www.hulu.com 24 - https://www.typewolf.com/ (author: Jeremiah Shoaf) 24.1 - https://www.typewolf.com/site-of-the-day/fonts/proxima-nova (author: Jeremiah Shoaf) 24.2 - https://www.typewolf.com/site-of-the-day/fonts/brandon-grotesque (author: Jeremiah Shoaf) 25 - https://files1.coloribus.com/files/adsarchive/part_1873/18731855/file/volkswagen-dont-look- up-here-600-91927.jpg 26 - http://www.colophon-foundry.org/typefaces/apercu/ 27 - http://www.marksimonson.com/assets/content/fonts/proxima_weights_excn.png 28 - http://www.type.co.uk/eCD/images/Frut_x9_560.gif 29 - http://creativenerds.co.uk/wp-content/uploads/2010/08/brandon.jpg 30 - https://s-media-cache-ak0.pinimg.com/originals/87/3d/4d/8734d60d8373ff275224005482 8f817.gif 31 - https://www.w3.org/TR/css-fonts-3/aaaaaa-diacritics.png 32 - http://creativepro.com/wp-content/uploads/sites/default/files/story_images_2/20120809- zapf.png 33 - https://s-media-cache-ak0.pinimg.com/originals/7c/ac/ e8/7cace8b65c5143a1b793fb71086e3379.jpg 34 - http://i.dailymail.co.uk/i/pix/2014/01/08/article-2536180-1A81C0FF00000578-560_ 634x441.jpg 35 - http://4.bp.blogspot.com/-8s0wqqjyinc/T2LBpcxTTDI/AAAAAAAAAbY/mDX2IMFXlIg/s640/ FleuronOrnaments.gif 36 - http://indesignsecrets.com/wp-content/uploads/2012/08/glyphspanel1.png
Craig Ward1
Typographers
Craig Ward, from Boston in the USA, has won multiple awards for his typography, is a TED Talks speaker, and has also written his first book titled ‘Popular Lies about Graphic Design’. He uses a huge range of equipment to create his pieces, which creates a very unique, eyecatching effect. One of his most famous pieces which features the words ‘You Blow Me Away”’ was created by printing the typography onto a pane of glass. He then threw a few different objects through the glass, and took photos of the pane of glass at progressive stages. In this piece he has used a clean-cut, sans-serif font to exaggerate the breaks of the sleeklooking letters. This has a shocking effect on the audience as you can see fragments of the text shattering into the darkness. Connotations of the phrase “you blow me away” are usually used romantically. However, Ward contrasts this wit the sharp shards of glass, and how the shape of the impact hole resembles that of a bullet. In other pieces of work he creates the shapes of countries, states and objects using typography. Each letter within each word I very different. He usually has the letters within one word on the same baseline, but varying x-heights and cap heights. He also varies the amount of serif letters and sans-serif letter within each individual word too, which is highly unusual. One of the main things I’ve noticed is that despite the varying heights, he also keeps the kerning per word the same. This, combined with the letters sitting on the same baseline, allows the viewer to see which letters going with which other letter to make up a word. He has designed typography for many brands and advertisements, such as Mastercard, Calvin Klein, Nike and Ketel One vodka. He has also worked for Channel 4 - a logo famous for its clever use of negative space. He has also done work for ITV, designing a point of sales advert for trailers of upcoming TV shows. 1
Ward, Craig - www.wordsarepictures.co.uk
Typographers Alex Trochut2 Alex Trochut is a very different typographer. He has worked with fashion brands such as M.A.C, Patagonia, and TopShop. He has also worked with some huge music artists such as The Rolling Stones, Katy Perry and the Arctic Monkeys. His work has also appear in well-known editorials like Penguins Classics, New York Times, The Guardian and Vanity Fair. His work is very sophisticated and features extravagant, endless swashes and flourishes. As well as using varying thicknesses of pencils, pens and paints, he also uses a range of liquids such as tomato ketchup and other sauces. He uses shoe laces, straws and even objects like metal to inspire his designs, as shown in the smaller images below. His most famous work is the Coca Cola logo, and he’s also worked for Nike too. Within the Coca Cola logo he uses extended ornamental flourishes. For example, the first finial on the C acts as a descender and underlines the word ‘Coca’. The ‘C’ at the beginning of ‘Cola’ features a swash extending from the top of the ‘C’, in the place where a serif would be if it were a serif font. A common theme amongst his work is the mixture of fluid looking and geometric styled elements. There is so much detail within each design, but it ultimately ends up looking really sleek and professional. He says he tries “to get lost3” in his art and often ends up creating incredible things through little accidents he makes. Sometimes he will sketch a basic idea of what the type style will look like, before giving it that shiny, clean look. Much of the line of work he is in is required to be quite fast-paced so he doesn’t have time to play around and experiment with elaborate designs. Therefore, any accidents he makes he will save up so he remembers how to recreate that mistake. Butler, Andy. “Alex Trochut Interview”. designboom | architecture & design magazine http://www.designboom.com/design/alex-trochutinterview-12-23-2013/ 3 Trouchet, Alex. “Works | Alex Trochut” http://alextrochut.com/ 2
WIM CROUWEL4
Typographers
Wim is a Dutch graphic and type designer. For two years in the late forties he studied Fine Arts in the Netherlands, but later studied Typographer at an academy in Amsterdam, now named Gerrit Rietveld Academie. Most notably he created his own typeface, New Alphabet. It appears to be characteristic and extravagant, but in his own words, “over-the-top and never meant to be really used”. This sans-serif font appears very geometric, with many counters left open, and arms and ascenders being removed. It was made popular by a designer named Brett Wickens who used the font on an album by ‘Joy Division’ in 1988. He is also famous for how his work revolves around grids. All his type is specifically positioned within his own design of different grids. The image on the right, taken from Josef Muller-Brockman’s “Grid Systems”5, also demonstrates how different size points fit into one another, thus benefiting greatly within grid systems. Crouwel was challenged with creating the catalogues and posters for use in 1954 at the Van Abbe Museum. He was told it could not represent or reflect the artist’s work in anyway, and had to be entirely different and just informative. Creating the programme was not allowed to represent the artist in any way either, which makes it very difficult for a designer with such style. Examples 6 and 7 are what he came up with. It is clear to see how he would have sketched out grid layouts before beginning with any type. He also created Architype Ingenieur8, which of course in based around a grid, and includes a “dot matrix” - which is a layout of selectively placed dots. Another similar font he created for the type company The Foundry, based in London, is called Architype Vierkant. It is clear by the image that this is similar to his New Alphabet font he created in 1967. This font uses no stresses or swashes, no soft spines or loops, just clear horizontal and vertical strokes. This creates a very digital feel, which was up-and-coming at the time, in correspondence to the rise of technology. His aim is to be innovative with his typography, all the while creating the sense of structure and Organisation, derived from the International Typographic Style. He uses a variation of serif and sans-serif fonts, all with thick strokes and solid terminals. He doesn’t “pretty” anything up with swashes or flourishes, but remains consistent in clear-set kerning. Crouwel, Wim http://www.iconofgraphics.com/Wim-Crouwel/ 5 Josef Muller-Brockman’s “Grid Systems” book 67 Van Abbe Museum work 8 Etherington, Rose | Dezeen https://www.dezeen.com/2012/06/29/typefaces-bywim-crouwel-for-the-foundry/
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Above is an example of typographic work based on Craig Ward’s style. It was great fun trying to replicate elements of how his work is made. I decided to initially sketch out simple letter styles and sizes. To challenge myself I tried to replicate the sizes of my sketched letters. By altering each letters tracking it was suddenly clearer to do it. Combined with changing the vertical and horizontal scales, and point size, it was coming together better than I had hoped. To differentiate each word more easily, as different font combinations within each word can make it difficult to read, I used Ward’s technique of keeping letters within a word on the same baseline, and similar vertical x-heights. By multiplying and screening several layers of textures and block colour combinations (shades of white/grey), I managed to get a grunge, textured look – similar to that of Ward’s work.
Layout Terminology Bleed
Meaning
Byline
when the image or colour runs over the external margin off the edge of the page usually used for items in a list, or to catch the reader’s attention to a line of text, using a large, black dot. This is usually in the centre of the baseline up to the x-height this identifies the writer
Caption
this explains an image. It is usually placed below the image area
Clip art
these are ready-made, free to use, or cheap, images that the editor will have the rights to use bring attention to certain sections of an article. Changing the background colour or text colour alters the reader’s attention these are evenly spaced sections of text, usually running parallel to one or more sections of text this identifies where the story occurred
Bullet
Colours Columns Dateline Deck
DPS
this expands on a headline of the text that goes with it. They are set in a font that is sized in the middle of headline and body text in order to create a contrast abbreviation for ‘double paged spread’
External margin
this frames the white space surrounding the page layout
Flag
the name of the newspaper/magazine
Fold
the fold down the centre of the page, usually connecting the newspaper/magazine with the other pages the page number, or sometimes the name of the publication and the date the information, at the bottom of an article/document, that refers to page numbers and perhaps a name how the article is arranged
Folios Footer Formatting Golden section Gutters
the name of the perfect proportions that are most aesthetically pleasing the white spaces partitioning separate columns and facing pages
Header
refers to the title of the article’s story
Hyphenation
this is a dash that symbolises a word has been split in two to allow more room to be used within each section/column of text this is an image which draws attentions to a certain element of the magazine this is an element of a, usually large, editorial which references names and subjects to particular page numbers how statistics are presented visually, in the form of graphs, charts, time lines, and diagrams (DIKW) Wisdom, knowledge, information, data. How these elements are arranged in a way that symbolises importance
Icon Index Infographic Information hierarchies
Initial cap Internal margin Jumphead Logo Mugshot Orphan
Overprint Photo credit Pull quote Rags Refer
Rule Screen Standing head Subheadings Teaser Text flow
Widow
where the first letter of an article or paragraph is capitalised. Usually larger, sometimes fancier the area of white space that frames the in-between area of text and images this is a summarising headline that tells the reader where to continue reading the article from another, jumped article/page the symbol/graphic representation of a brand, which is often seen on the front page of magazines/newspaper as a way of easy identification an image of a person from the shoulders upwards a single word/section of a word/ short line of text that appears at the start of a page or column, which appears lonely to the rest of the body text where one item, be it text or an image, is printed on top of the other usually placed near a caption of an image, identifying the photographer where a quote of text is presented within the layout of body text, almost like an image an uneven margin on vertical body text; adjusting column widths and point sizes helps this refers readers to a story which is located somewhere else within the magazine/newspaper. Usually on the front cover, or towards the bottom of a page to get you to read something else within the issue this can be horizontal or vertical, and acts to separate elements of the article a shaded area. This can be block shading behind one body of text, or a whole page Also known as a header/heading a line of text, often in bold but smaller than a standing head, which is used to divide similar bodies of text which different topics this is a graphic that attracts the reader’s attention, usually on a front page or section front. This is also called a ‘promo’ the connection of ‘text boxes’ that effectively allows the different shapes and sizes to become one layout for a rich body of text. This allows the body text to use more available room on a page, perhaps weaving around images or pull quote similar to ‘orhphan’, but this can also be a phrase that is separated onto a separate page
House-style DPS Conventions Below is a typical DPS from Empire Magazine. Although they alternate various styles throughout the magazine, to keep readers interested, this is a common DPS for 5 or 6 consecutive pages. The images within this DPS are neatly aligned with the texts’ gutters and external margins. The screen of textured red correlates with the type of article it is, as well as tying it in with the red border on the left page. The large external margin at the bottom of the page allows this somewhat crowded DPS to look more spacious. It condenses the body text columns into similar lengths, so the external margin remains the same across the whole bottom line. An interesting element within the folio in the footer of the pages, is not only is the date included on every page (as the page numbers are too, of course), but a mini logo with the title of the magazine is also featured. This is quite unusual, as I have not seen anything but page numbers within the footers before. This grid design can be easily broken down into a 3 column grid layout on each page, or sixths across the whole DPS.
House-style DPS Conventions Below is the typical layout for Q&As within the Fiera design publication. At first it isn’t clear if there is any type of grid layout. The right hand page of the DPS acts as a graphic. Whilst the left page features a centre column and row, which is slightly larger than the columns, either side – these act like rags. They are disproportionate, but achieve a golden section as it appears very interesting to look at, rather than a generic 3 columns all being the same width/height – it is a design editorial after all. The image on the left page is printed right up to the edges of the page, by incurring a bleed on the document settings. The internal margin between the image and the fold lines up in a grid format with the farthest right body text. The text on the right page acts like a graphic, with the background being wholly screened in a texturous blue. This is the only element, which is brightly coloured, further enforcing the idea of creativity. There is also an overprint of the heading over the body text. Unconventionally, the title of the piece on the left page is rotated to be read vertically, aligned with the side of the page. It is in a script font, as opposed to the body sans-serif font, and in a larger point size to differentiate it.
House-style DPS Conventions Most successful magazines have a unique grid layout for their double page spreads. This allows the company to brand themselves on a recognisable style. If they conquer this element they can have confidence in their brand and the consumers will begin to follow the magazine. They follow strict rules regarding columns, point size, formatting, internal and external margins, image placements, and so on. Eden Project’s editorial named ‘The Journey So Far’ follows a simple 2 column grid on each page - even the selection of 4 images, presented as one, line up with the vertical column layout. There is a clear, broad external margin around the images and text. To the reader is appears to be a spacious layout with lots of white space, for ease of readability. The fact the font is below standard 12pt (it is 11.5pt) allows the reader to believe it as an easy read, whilst the editors are able to pack in lots of information. The gutters between columns are consistent which further helps the readability. There are lots of separated bodies of text by using subheadings. The subheadings themselves are not any bigger, but the colour is a bolder, dark green - whereas the body text is regular and black. The pulled quotes act much like graphics within the DPS, using a larger point size, lighter colour and lighter style. The text also has a gradient on it, which allows the text to fade from the body text colour, black, up to a light green towards the bottom. This reflects the modern qualities of the sans-serif font.
Layouts After researching these double-page spreads I have found there is no overly common column layout. The Eden Project journal has a 2 column layout, and this appears to be a convention used to maximise space as there is a lot of text to fit in. Although, this appears to make it look like there is a lot of text which could put readers off, as it doesn’t look as easy to read. The 3 column layout is used in the Empire magazine which is used effectively for ease of readability. The images seem to be the most important within this magazine, and the 3 column layout allows the text to work efficiently around this. The Fiera magazine features a 2.5 column grid, with the left hand column being half sized. As this is a design magazine, it switches up common conventions to intrigue the artistic mind. It is meant to make people think about layouts whilst inspiring creativity through its articles’ topics. Of all three magazines I looked at only Empire magazine had an image that was printed right to the edge of the page; this would have had a 3mm bleed or similar. This also meant the image spread right across the external margin where white space would usually be surrounding text and images. The other two magazines didn’t have any images that went across the external margin, nor across the page fold. This is usually used for a huge image that is the focal point of an article, and to unite the double spread as one, as if there is no fold dividing them. I liked the idea of this, but I did find the artwork/images would be distorted by a fold in a physical magazine. To the right is an example of what this looks like in an Empire Magazine from 2010. The most inspiring DPS I looked at, which influenced my own work greatly, was Fiera magazine. The right hand page used a blank colour and a simple typographic piece as the entire page. I felt that if my article allowed, this would be an interesting way to display the article title. With the image/colour running right into the fold of the page, avoiding the internal margin between text/images and the fold, it would be a clear definition of what the article is about, with the article following from left to right. I felt this reflected the direction of reading, and therefore chose left to right, rather than Fiera’s choice of right to left, which is used for a different reason it is not a title, but a following informative, typographic piece. After all my research I found there was no traditional column layout. I looked at magazinedesigning.com which had some very informative images about the use of columns and how the number of columns should be influenced by the amount of text versus imagery and space within a DPS.
There are 2 examples of each column layout from 1 column up 9, from the top. From about 6 columns onwards there are too many columns to text to actually fit, these are better used if there are lots of components making up the spread. They are used for precise positioning of different elements. The maximum number of columns to use just one column for a text box is 4. Once you get past 5 columns, it is wise to use 2 columns for text, using the spare one for an additional informational element.
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Top 10 AirBnB’s Day trips to Lake Bled All about the Green capital of the world
4days in Ljubljana Travel writer: Laura Ripley
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Slovenia Castle Just a 10 minute waLk from the city centre Vitae volutpat t magna
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RESIDENT AND STUDENTS OF LJUBLjANA (2012)
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Australian Garden
The Lizard Juniper
Opening this spring
Katie Treseder
The Eden Project’s Mediterranean Biome is undergoing its biggest-ever transformation with the creation of a new area devoted to some of Australia’s extraordinary flora.
One of the rarest plants in the country has been helped to regain a strong hold by a team of scientists and horticulturists from the Eden Project and Natural England.
Fantastical and freaky exotics such as grass trees, kangaroo paws and wax flowers will for the first time grace the Mediterranean Biome. The unique body of plants is all the more remarkable because, in its natural habitat, it survives and thrives on some of the earth’s oldest and most infertile soil. Eden is collaborating with Kings Park & Botanic Garden in Perth, Western Australia, to recreate the iconic habitats of the south west of the vast state. Their senior curator, Grady Brand, will be travelling to Eden to help Eden’s expert horticulture team with the large-scale installation. Eden’s expert horticulturists, Dina Gallick and Catherine Cutler, have worked closely with the Kings Park team and made extensive field trips into the bush Ground is now being prepared in the Mediterranean Biome and the first plants, including eleven of the highlydistinctive grass trees, are due to be installed in March.
Congrats Corner • Congratulations to Emma Abbot, Research Manager, who was elected Chair of CATA in December. Emma has served as Vice Chair for the past two years. It’s a fantastic achievement and obviously it’s great for Eden to have Emma in that position. Well done!
The Lizard juniper (Juniperus communis ssp. hemisphaerica) is a subspecies found in only one location in the country on Cornwall’s Lizard peninsula. Just six years ago, the population had dwindled to only 13 plants in the wild. With so few plants, the subspecies was at risk from being wiped out by a wildfire or grazing animals so Eden and Natural England took cuttings and started growing new plants at Eden’s nursery near Pentewan. Recently, nearly 200 of these Eden-grown junipers were planted in a secret location on the peninsula near to where the existing wild population grow, to establish a new colony. Protected by an electric fence, the new juniper plantation is the culmination of six years’ work and will hopefully result in a wild population that will thrive again. Even though the plants are now in the ground, the project doesn’t stop here. The Eden team are aiming to grow more plants from seed collected from the Lizard, with the aim of introducing these to the wild too. We are delighted to be working with Natural England to preserve this highly threatened tree. This project exemplifies an integrated approach to plant conservation that combines our horticultural resources with on-site management in the wild. Working with a range of partners, we look forward to continuing to play a significant role in the conservation of threatened plants from the south west of England.
• Congratulations to Rhiannon Van Muysen from
What happens next is up to nature. We won’t be acting as gardeners, these plants are hardy enough to survive and thrive on the national nature reserve. The natural partnership of Eden expertise and Natural England’s conservation team has enabled the safeguarding of one of the UK’s rarest plants.
• Congratulations to retail
Junipers are conifers which can vary widely in size, although the Lizard juniper is a low spreading shrub. Juniper berries are most notably used to flavour gin but they are also used in some northern European cookery.
• Lorraine Tonkin, HR team and her partner James
Rowett got engaged on Saturday 17th December 2016. Huge congratulations to you both for your future life together. Narrators team and Jamie Young (who works at Heligan) who welcomed their baby boy, Cailean Ivo Young, on 24th December at 11:30pm. buyer, Hannah Simpson and her husband Rob, who welcomed their beautiful baby girl Molly on the 1st February, weighing 8lbs 15oz.
• Congratulations to Kelly
Baxter from Narrators team who is engaged to Michael Haley from Car Parks team. They are having a Harry Potter themed wedding on September 1st 2017.
Spring 2017
Easter at Eden 1-17 April
Easter at Eden is hard to beat. Bring the family for quests and hunts and egg-themed games. Have a crack at our inflatable assault course and other awesome activities. Plus, of course, there’ll be popular prizes and treats to enjoy. All activities are included in admission price.
Mother’s Day Sunday 26 March
Bring your mum or gran into Eden for free on Mother’s Day. You can enjoy a lovely Mediterranean lunch in our Biome and take them on a spectacular floral tour of the world through our gardens indoors and out. Free entry to Eden on the day will be available for all mums and grans provided they are with at least one of their children or grandchildren.
Welcome Image Awards 16 March – 16 July
Twenty ground-breaking biomedical and clinical images will be on display at Eden, as part of the worldwide exhibition run by the Wellcome Trust. Communicating scientific innovation for twenty years, the awards this year feature a 3D-printed model of the brain pathway responsible for human language, a promising new cancer therapy involving a synthetic mesh, an artificial clip-in ocular lens used for cataract treatment, and Chrysalis, an all-female project that highlights the intrigue, imagination and precision behind scientific research. The Eden Project is working in collaboration with Wellcome Images, and is one of 15 centres worldwide to host the annual exhibition, which includes the Science Museum in London, as well as venues in the USA, Russia and South Africa. Image credit: Eric Clarke, Richard Arnett, Jane Burns, Royal College of Surgeons in Ireland/Wellcome
Rainforest Canopy Walkway; The Weather Maker – Launch weekend 18-19 March The Weather Maker is the exciting new addition to our Rainforest Canopy Walkway and will enable everyone to explore the world’s largest indoor rainforest from the treetops. Here’s what to expect: A Canopy Rope Bridge stretching 23 metres across the canopy between two of the tallest trees in the 50 metrehigh Biome (please note that this route is not suitable for those with wheels); A fully accessible Cloud Bridge where visitors can travel through swirling clouds and get a sense of how rainforests reflect sunlight and help cool the planet; A Rain Shack where visitors can shelter from a tropical rain storm and discover why it’s so wet in the rainforests; A Rainforest Research Camp displaying the latest research from scientists at the University of Exeter who are working in the tropics exploring links between climate change and rainforests; The Climate Platform and Weather Station where you can discover more about the link between the atmosphere and climate change, read live weather data and find out how computer climate modelling helps forecasts. The Carbon Platform where you can explore how the growing rainforest captures carbon dioxide and stores it as solid carbon compounds in wood, leaves, roots and soil. Interactive Exhibits including the Transpiration Tree where visitors can pump water up a tree to see how it travels through leaves and into the sky to form clouds.
Welcome to Eden Life Jo Gale - Editor
Welcome to the Spring 2017 edition of Eden Life. In the Team feature, the Finance Team tell us all about their life at Eden. Who knew Finance could be so exciting? I’m sad to say that this will be my last edition of Eden Life as Editor as I leave Eden on 10 March to go and work on the Cornwall Local Energy Market project run by Centrica. After almost 13 years here, it will be a massive wrench to leave. Eden will always be home and I hope I will see you all from time to time. I wish all of you a successful future. Rob Lowe has kindly agreed to take over as Editor for Eden Life going forward, so please keep your suggestions for team features and other articles coming. Please email edenlife@edenproject.com for any comments or items for inclusion in the next edition and if you would like your team to be featured. Thank you to everyone who contributed to this edition.
Eden Project wins accessibility prize at South West Tourism Excellence Awards
New Joiners and Leavers Hello to: Alison Dunleavey – Sales and Marketing Laurent Motsch – Finance Damon Murray – Chefs Matthew Roebuck – Big Lunch Danielle Smith – HR/Training David Barrett – Logistics
The Eden Project won a gold award in the Access and Inclusivity category at the South West Tourism Excellence Awards at a ceremony in early February at Ashton Gate Stadium in Bristol by ITV news anchor Kylie Pentelow. Eden runs a number of accessibility schemes for visitors including accessible parking spaces and toilets, free entry for personal assistants, manual and powered wheelchairs available for free and information provided in large print, Braille and audio formats. During the Eden Sessions summer concerts there is also a relaxed viewing area where people with additional needs can watch in a less crowded area away from the arena. In November, Eden won the Access and Inclusivity in the Cornwall Tourism Awards. Accessibility and ensuring that everyone can enjoy a day out at Eden is one of our founding principles. We are incredibly proud to receive this award, especially given the excellent standard of other tourist attractions in the South West. All entrants in the South West underwent a short-listing process with 380 being visited by a team of 36 mystery shoppers. Entry was free, and all entrants received feedback on how they had done, giving them useful tips for future success.
Farewell to: Mario Fontes – Chefs Dean Forrest – Hospitality Tim Hardy – Eden Live Olly Mawson – Hort Science Gwion Thorpe – Big Lunch Finley Tregenza – Hort Apprentice
World Pasty Championships
HR Update
David Rowe
Dawn George The World Pasty Championships return to the Eden Project on Saturday, March 4, with a stellar entertainment line-up including the Mercury-nominated Kathryn Williams and event favourites Fisherman’s Friends and Kernow King.
They will be performing at the sixth annual celebration of Cornwall’s most famous dish which sees pastymakers battling it out to win different categories of the international competition supported by the Cornish Pasty Association. Critically-acclaimed folk artist Kathryn Williams, who was nominated for a Mercury Music Prize in 2000 and has 13 studio albums under her belt, will be singing tracks from her two recent albums Crown Electric and Hypoxia. She will be collaborating onstage with her friend and solo artist Michele Stodart, who is bassist, vocalist and co-songwriter of the double-platinumselling pop rock band The Magic Numbers. The ever-popular Fisherman’s Friends from Port Isaac will be making their third appearance at the World Pasty Championships to perform their rousing shanties and Cornish folk songs. Other music acts include Cornish bluegrass band Flats and Sharps, pop and folk singer Genevieve Miles, Penzance-based duo Miss Jones, indie-folk outfit The Woods and country musicians The Kit Hillbillies. Heading the comedy bill is Cornish comic and established Championships favourite Kernow King who will be bringing back his anarchic brand of humour peppered with a strong pasty flavouring. Throughout the day there will also be pasty-making workshops for all the family, a crimping contest, pastythemed craft activities and tips for making a glutenfree pasty. As well as attracting competitors from Cornwall and beyond, this year’s international contestants include Gerry Ramier from the Piskie Pie Company in Ontario, Canada, and Mike “The Pasty” Burgess who runs The Pure Pasty Co. in Virginia, USA, and supplies pasties to the British Embassy in Washington DC. This year’s prizes have been sponsored by Heygates, Cornish Mining World Heritage, Craft Bakers Association, Hay Farm Produce, Carters Packaging, Stevens Weighing, Mono Equipment and Let Them Eat.
As the nights start to draw out and signs of spring emerge, we’ve started to look forward in the HR team to new introductions and initiatives for this year. Eden Gathering From the initial feedback this year’s Gathering seems to have been well received and you enjoyed the opportunity to add your thoughts and comments to some of the new plans for exhibits and events in 2017 and beyond. We have already agreed the dates for 2018 as Monday 22nd and Tuesday 23rd January 2018. If you haven’t returned your personal details updates, please do so urgently to the HR team. Wellbeing and Mental Health One of the main areas the HR team will be working on in 2017 is looking at employee wellbeing and supporting mental health in the workplace. This is a large piece of work and will be delivered in stages with the first areas being implemented from April 2017; this will include awareness training for all employees, but particularly from a manager/support perspective, together with specialist first aid training. There are a whole remit of other activities including our annual Benefits and Wellbeing day and a formalised policy – what this space. Benefits and Wellbeing Day Some of you may have attended one of the pension presentations that were hosted by our new independent financial advisors, Omnium, recently. These had very good feedback, as did the 121 meetings that were also scheduled. Mark from Omnium will be back again on 30th/31st March, if you would like a 121 appointment to discuss anything financial, please contact Lorraine in the HR team. The full benefits days will take place on Friday 31st March 2016 in the Core Suite; keep your eyes open for the posters to let you know what we will be there on the day. Appraisals By now your line manager should have been in touch with you to arrange your slot for the annual appraisal discussion. There have been a few changes to the form from last year but these can be accessed on Grapevine. We encourage everyone to come along to this meeting prepared with their thoughts and comments, together with discussing training and development needs. All appraisals have to be completed this year by 30th April 2017. Awards Success We’ve had further success with the Excellence in Business Training Awards 2017 where we retained for the second year the Award for Outstanding Commitment to Apprenticeships (Large Organisation); we won Training Programme of the Year for the Eden Welcome Week/Connections Programme and came runner up Outstanding Commitment to Training (Large Organisation).
Borneo Article
Sir Ghillean Prance Eden Trustee
Hetty Ninnis Have you ever wondered what’s it’s like to live and study in a real life living pristine rainforest? Well this January three Eden team members; Michael Cutler, Rosie Wade and I got the chance. The forest and field centre at Danum Valley, Borneo, surpassed all or expectations, it is a wonderful place to work and study, beautiful forest and the most brilliant group of staff and scientists. If you can get past the continuous leech attacks, naughty wild elephants and feeling hot and sweaty most of the time, this place is heaven! This visit was made possible by the University of the West of England. The Project was generously funded by The Royal Geographical Society. Rosie Wade was funded by both the Eden Project and the RHS. We joined the team to help with the two PHD projects they have running there and to gather information for our new oil palm exhibit, funded by UWE and created in conjunction with the Eden Project. This project asks the question; can the introduction of Asplenium nidus- the Birds Nest fern into oil palm plantations, increase biodiversity, and give benefits to the growers by encouraging beneficial insects and improve nutrient cycling? The new exhibit will tell this story whilst following UWE students study in the field, bringing cutting edge, living science into action for Eden’s visitors. The trip was also funded by Go Pro, who gave UWE the equipment to document the field work. Some great (and sometimes hilarious) footage was made during the trip. Documenting giant rainforest trees, climbing them, rope bridges and leech attacks! My absolute best moment was climbing a 63m Parashorea tomentella (BIG Dipterocarp TREE), the biggest tree I have ever climbed. It gave amazing views out over the canopy; I was even higher than a troop of red leaf monkeys that passed through that day. We managed to film this and it’s a great memory to have recorded. We are so thankful to the UWE for inviting us along and are very excited about continuing to work with them on the new exhibit. I hope our collaborations with UWE and Danum Valley will continue long into the future. If you want to know more Rosie and I will be sharing our
The Rainforest Where has the start of the year gone?! When we last wrote, the MA were looking forward to the Winter Staff Party and the Eden Gathering. Both these have come and gone, with equal success and enjoyment. The MA collectively participated in the first Eden Connections programme, run by the HotHouse Team, being a short taster of a programme that is hoped will be rolled out to all staff in the forthcoming months. Future dates are 18th and 19th April; and 3rd and 4th May, these will be on Grapevine very soon for you to sign up to. It was a really inspirational experience and something that reconnected each and every one of us with the place we call our “office”, the Eden Project. Some of the old-timers (those of us who have been here for ten years or more) who took part, hadn’t realised the unintentional disconnect that can creep in. New starters now benefit from a great induction process, the Welcome Week (which recently won the Training Programme of the Year at The Excellence in Business Training Awards 2017) encapsulates the “spirit of Eden”, but Eden Connections will really reinforce that in a fun and thoughtful way. Daffodils are being whisked around in the wind caused by “Storm Doris” as this is being written, proving that the seasons never stop, nor does our focus to help out our teams wherever it is needed. We tackle large and small issues at the MA monthly meetings, gaining an insight into all areas of Eden. Do let us know if we can be of help with anything. As well as some of the serious stuff, we have been the driving force behind the recent successful Staff Parties. Planning has started for the Summer Staff Party, with a date expected to be set for early September. We will let everyone know what that date is as soon as we can. As a group, we are discussing the Staff Tribute Awards, because nominations have dropped dramatically in recent months. We’re sure this is not because colleagues have stopped doing brilliant things; rather we believe it is because everyone is going “above and beyond” during their normal working day. This makes it difficult to differentiate. Please let us know any thoughts and ideas as to how the declining trend can be reversed and how exceptional instances can be recognised and reported more easily. Always, if you have any concerns, queries or suggestions, please speak to us. If it isn’t something over which the MA have control, we can find someone who does! Have a great Spring and Easter Season. With love, Your Members Assembly
As a botanist who has spent much of my life exploring the rainforest, I am delighted that the rainforest at the Eden Project keeps developing. The canopy walkway gets more exciting as bits are added to it. I can’t wait to be able to walk behind the waterfall after the next phase. The rainforest exhibit at Eden becomes ever more important as threats to the rainforests of the world grow every day. Today I received a World Resources Institute report outlining the new deforestation hotspots in the world’s largest tropical forests. It maps as deforestation hotspots large areas of the Brazilian Amazon, the Democratic Republic of the Congo and Sumatra in Indonesia. Recent satellite analysis shows hotspots of deforestation have emerged from Cambodia to Liberia and from Brazil to Peru. It is good that we have representation of all these areas in the rainforest biome at Eden. Many of the rainforest areas that I have visited are being replaced by forests of oil palms, rubber plantations, cattle pastures, fields of soybeans, expanding cities and hydroelectric dams. As a botanist I am concerned about and desperate to conserve the wonderful biodiversity of plants and animals harboured in the rainforest. But rainforest loss is tragic for another reason, because about 12% of all man-made emissions of greenhouse gasses comes from deforestation. This is nearly as much as the emissions of the 1.2 billion cars and lorries in the world. This means that conserving the rainforest is critical to halt climate change and that we need to give an increasingly strong message to the public to raise concern and action for the rainforest. The other important aspect of the rainforest is the indigenous people who live there. It is good that we even have a reminder of this in the rainforest biome with beautiful photos of tribal people and some paintings by Peruvian shamans. Rainforest people are losing their traditional territories and livelihoods. Having carried out ethno botanical studies of several Amazonian tribes I greatly admire their forest knowledge and their way of life. The best preserved areas of Amazon rainforest are to be found in indigenous reserves where people have lived in the forest for many generations without destroying it. Good conservation is one that works together with the local people rather than evicts them from their land. Our rainforest team at Eden have an important job in maintaining our rainforest under difficult conditions and in presenting a message about the importance of rainforests to the world.
Gordon During 2016 we attracted over a million visitors, our best figure for several years. And we had the best December since Eden opened back in 2001. But you’ll have noticed how hard we’re working to reach so many people! Over the past year we’ve relied heavily on our programme of live events. We increased the number from 14 the previous year to 27. As you know, we’ve been squeezing in special weekends, bringing science and storytelling to young audiences, and we’ve also invested in real showstoppers, especially our summer programme and the wonderful Christmas Festival of Light and Sound. So attracting a lot more visitors has also involved a lot more work – I’m really grateful for the huge effort everyone has put in. This year I expect that pattern to continue – we’re going to run a fabulous summer season around the theme of Space, and the ideas that are being explored as we do the planning are incredible. We’ll be telling stories of the cosmos and reminding ourselves how perfect our own planet is for supporting life; and of course that we need to look after it. But we also need to make sure our horticulture and permanent exhibits are looked after – they’re just as important for asking big questions and delighting our visitors. We now have a Life Sciences agenda that brings together all the work we’re doing to improve our great gardens (and right now the Horts team are working all over the site to make it look wonderful this spring). We’re also creating a plan for the way we use Art and Culture throughout Eden to build connections and tell stories – these themes of Science and Art will come up constantly, along with our ambitions for education, over the years to come as we continue to bring new things to the Bodelva site. Beyond Eden we’ve been working to support Cornwall’s bid to become European Capital of Culture in 2023. Culture is one of the fastest growing industries in Cornwall, creating lots of new jobs (and bringing more visitors too). It’s also fun! And the performing and visual arts are areas where Cornwall leads the way; think of Eden, Heligan, Tate St Ives, the Minack, the Man Engine, Kneehigh and WildWorks, and so on. Some people have questioned whether Cornwall should even try – I reckon we should grab this opportunity to get a whole continent excited about something we already do brilliantly. So let’s Back the Bid!
Tim It is accidents that change the world. I met a man once who on hearing my story said, “Random meetings are dancing lessons from God”. I’ve never forgotten that. While in Palm Springs recently, desperate for some respite from the desert sun, we ducked into a mineral shop exhibiting dinosaur eggs. Fascinated, I saw cabinet after cabinet of curiosities, and finally, I see glinting darkly, scoured by the years, rough edged and unknowable…a meteorite. This was a big sucker…Just under 4 kg. It had come down in Argentina in 1956, but now a widow was selling a muchloved collection on and here it was, this planetary orphan, looking for a home. Jesus it is heavy. How could something the size of a baseball weigh so much? “Compressed iron ore and nickel” says the man. “It’s rare” he says. I buy it and the adventure begins. On returning to Cornwall, you will recall that I shared this experience with you at the Gathering; of our need for awe, how we needed to fall out of love with ourselves and our creations and instead allow awe to flood through us at the wonder of the world and the universe in which it exists. As the meteorite was passed to everyone in turn, never have I felt so many people interested in something. “It is older than planet earth” I said. My brain is exploding just thinking of the terrible loneliness of forever. Later, I told the story of meeting Buzz Aldrin at Buckingham Palace at a party hosted by Her Majesty the Queen. When we were introduced I told him that he was one of my heroes and although I never get nervous, I could hardly speak. He put me at my ease with small talk and then I asked him – “Have you ever been terrified?” No, he said, I’m an engineer and I know the risks, I know how stuff works. Then he fell silent and said, well actually yeah, once. Walking in space… concentrating on doing my thing when suddenly a thought ambushed me. What? It’s a funny thing…that beneath me was forever. Possibly the loneliest thing the imagination can hold onto. Beneath him was…Forever. Whenever I am home, I look at the meteorite and think about where it may have come from. We do not know its origin, but we know that it is something to do with origins and, when speaking with my colleagues so many of them mused…how did we get here, did we come like that? A ball of flame and a hard landing in some desert somewhere, but were there passengers? Are we passengers? Holding that meteorite reminds you of the impossibility of understanding time, except for its reminder of the shortness of our existence. Humility in the face of such, allows you to think perhaps for the first time, of hundreds and thousands of years into the future and behind it all – the biggest question. What is life? And what dancing lessons lie in wait?
Recipe of the Season Mike Greer, Chef Team
Lamb Tagine and Cous Cous 1kg diced lamb shoulder 2 tsp ground cinnamon 2 tsp ground cumin 2 tsp ground turmeric 1 tbsp sweet paprika 1 tsp hot paprika 2 tbsp olive oil 3 onions 4 cloves of garlic 60g sultanas 2 tbsp honey 1 tsp saffron stamens 750ml stock 2 x 400g cans chopped tomatoes 350g apricots a preserved lemon a handful of coriander leaves a small handful of mint leaves Toss the cubed lamb in half the ground spices and leave for at least four hours. Overnight would be ideal. Set the oven at 160C/gas mark 3. Warm the olive oil in a deep, heavy-based casserole and add the seasoned meat in small batches. Remove when it is browned nicely on all sides. Peel and roughly chop the onions, then peel and finely slice the garlic. Add to the pan with the remaining spices and allow to soften and colour lightly. Stir regularly over a moderate heat so that the spices flavour the onions but do not burn. Add the sultanas, honey, saffron stamens, stock, tomatoes and apricots, then return the meat to the pan. Bring to the boil, season with salt and black pepper, then cover with a lid and place in the oven. Cook for two and a half hours. Cut the preserved lemon in half and discard the interior pulp. Finely chop the skin and stir into the tagine. Lift out the meat with a draining spoon and boil the sauce over a high heat until it is reduced and thick, then stir in the roughly torn coriander and mint leaves. Return the meat to the sauce and serve. 200g cous cous 200ml boiling water ½ teaspoon turmeric 1 table spoon of olive oil 50g chopped apricots Combine all of the dry ingredients then mix in the olive oil, stir in the boiling water and mix well. Cover with cling film and leave for 4-5 minutes then with a fork break up the cous cous, this should be nice and fluffly. Serve with minted yoghurt.
A day in the life of…
Team Profile – Finance Team
Peter Wroe, Finance Team
Peter Wroe
It’s just about spreadsheets isn’t it? Well partly yes, however gone are the days when a finance leader was in the corner and did only the factual historical stuff. A lot of my time is spent out in the organisation, looking externally and looking at the future. I spend a fair bit of time travelling, however if I’m in the office:
What a privilege that we get to crunch numbers and make an impact at Eden. The team have worked in the NHS, manufacturing, audit, education, IT and nightclubs (guess who?), however there is nowhere quite like Eden. How cool it is to work where the mission is to connect with the living world and each other rather than generate cash for shareholders. We deal with 1 million sales transactions a year, 20,000 supplier invoices, monthly accounts and reports for 170 cost centres over three separate entities and reports to the Board and Trust. Right now is the hardest time; there’s less cash available and intense work on the budget, external audit and our year-end published accounts. I shared our restructure at the Gathering; we’ve filled our last vacancy and Meg and Sarah are joining the team after their apprenticeships. I’m privileged to lead a team of super people, so who does what? Paul Newcombe: Financial Controller responsible for all financial accounting, reporting, compliance, and cash management. A fanatical rugby union fan. Victoria Welch: Deputy Financial Controller and Finance Business Partner for Catering and Events. Vics is an expert netball coach. Sarah Thomas: Finance Business Partner for Retail and Operations, plus payroll control. Loves walking and plays the piano. Annette Rule: Finance Business Partner for Projects, International, Capital Expenditure and Education. A keen supporter of Lostwithiel’s community groups. Laurent Motsch: Finance Business Partner for Marketing, Interpretation and Seasonal Programmes. Plus the budget, planning and analysis. 3rd place in the Eden bake-off! Howard Sones: Systems and Reports Manager for Access and Focal Point. Howard is recreating Watering Lane in his own back-garden! Heather Greenhalgh (life of a party), Debbie Elson (loves family time), Joy Fletcher (divine lime cheesecake!), Meg Carey (loves horse-riding): A great team who manage purchase ledger / supplier payments and employee expenses. Sarah L J Thomas: Sales ledger/invoicing customers, credit control. Loves to travel and eat chinese food for breakfast! Our main challenges for this year are: business partnering to help cost centre owners; automation; reduction in paper; timely and useful reports; and supporting international and hotel expansion plans. The team are here to support you and help navigate our financial journey to channel more cash towards our charitable aims over the long term. I’d love to hear your thoughts on how we can do this together.
06:15 I make time for breakfast with my wife and twin sons and then drive from Padstow to Eden. I try to fit in a swim, run or yoga two mornings a week. 08:00 Now at my desk, email isn’t the first thing I do. What where yesterday’s results? What action do we need to address any concerns? Then a quick review of any urgent emails, a chat with the team to check they are OK and answer any questions on priorities before I start one big job for the day. Prioritising one big thing gets it done. 8:30 The one big job could be anything from writing board or trust reports, to analysing business cases with the team, considering pricing strategy or looking for cost improvements. A good example is deciding on the Christmas programme; we did a business model assessing incremental visitor numbers, admission yield and spend per head versus the cost of lasers and music. Of course if something urgent pops up then I break off. On monday’s the Exec Directors get together for an hour to share updates, challenges and plans for the week. 11:30 Check back in to email for anything urgent. 12:00 I aim to walk on site to keep up to date with our experience, understand customers and listen to what colleagues think. 13:00 Open for meetings (e.g. colleagues, suppliers, the bank, auditors, lawyers or insurers), working with the team, checking financial and project performance and approving purchase orders and payments. 16:30 Emails and catch-up. 17:30 Review the list of tasks, decide on the priorities and plan my one big job for the following day. Sometimes there is a working dinner with the board or external stakeholders. Once a week I try to get to tennis, other than that I aim to be home at 19:30 to read with the kids at bedtime. The evening is either catch-up work or time with Jane, sometimes with TV (currently House of Cards or Game of Thrones), before turning in.
Magazine Cover Conventions
‘Time Magazine’ has a very unique cover layout. As far as I could tell there wasn’t any strict grid layout. This is quit unusual, especially for such a traditional magazine. It is a recurring theme throughout their covers to have the text left aligned. There are a few exceptions, for example: But this is not common practice. After much research I have also discovered that it is likely their logo is very much that. It has changed very much since the magazine was founded in the 1920s, but it is actually a hand-lettered serif font, created from similar looking types, such as: Linotype Trajanus, Wellsbrook Initials SG Heavy, and Amor Serif. It is too difficult to tell1. Unlike many magazines nowadays, they have layered the logo above the image. Empire and GQ both have obscured logo due to the person in the image being the focus. ‘Time’ have stuck with their tradition though, showing great confidence in their own brand. I noticed that the image on the cover I have analysed has been edited to stress the blue eyes and mask of the actor. I find this contrasts with Time’s dark red. They are such different colours that they almost clash. This must have been intentional, as it seems their logo; title and other teaser articles are the main focal point of the cover, with the image being in the background. The Empire magazine’s cover I analysed draws full focus on the image of the character. The photography and lighting is an incredibly important element of this subscriber’s cover. Within these special covers they focus on the artistic element, rather than a promotion and eye-catching cover which is covered in teasers and subheadings. The folio of the date is placed between the apex’s of the M in Empire. This involves the date more, as it is an important factor of being a collector’s edition. To the right is an example of a regular Empire magazine cover, which is littered with teasers and bright colours, which is designed for a totally different purpose. Subscribers have already purchased the magazine so they have nothing to promote other than the focal film of the time. A regular cover is designed to promote the main film and many other films inside to get a consumer to pick up this magazine over other competition. 1
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