The Centre for Fine Print Research (CFPR) at UWE Bristol is a distinctive centre of research excellence whose key strengths are embedded in the crossover between art, craft, design, technology, science and engineering. The CFPR has been granted an award of £7.7M from Research England’s ‘Expanding Excellence in England’ (E3) Fund to increase its internationally acclaimed empirical investigation into the artistic, historical and industrial significance of creative print practices, processes and technologies. We will develop into a major globally-recognised research centre for new printing methods, a contemporary and truly inter-disciplinary centre for the future, where external partners co-create research with researchers in state-of-the-art facilities. The funding will enable a step-change in the scale and scope of CFPR activities, to capitalise on current strengths and capacity to develop new and innovative ways of working.
Using this new investment, the CFPR will expand its research capacity with a specific focus on addressing: Transformative Technologies for Practice-led Design; Innovative Print Techniques Reconstructing Historic Reprographic Methods; and Novel Print Processes and Materials for Physical and Tactile Surfaces.
Celebrating its 21st birthday in 2019, the Centre for Fine Print Research has a mission to innovate, contemplate and understand all aspects of print history, practice, manufacturing and materials. The CFPR has an interdisciplinary approach, critical for spearheading new insights into the digital artefact through material creation, alternatives to halftoning, developing inks and 3D printable materials, colour and innovative printing for physical surface reproduction, design and fabrication in 2 and 3 dimensions combining a multi-technology approach to novel materials and processes.
This recent investment funds 18 new multi-disciplinary posts including associate professors, early to mid-career researchers, artist and designer maker fellowships, administrative, management and technical roles across our key areas, which includes fine art, print, product design, robotics, electronics, software, materials science and nanotechnology.
Applicants will work across the following themes:
Theme 1: Industry and Transformative Technologies for Practice-Led Design. From its core expertise in pioneering 3D printed ceramics, CFPR wish to apply its knowledge in new data-driven methods for 3D digital fabrication of bespoke and sustainable products that are sensitive to the needs of the user, are robust to withstand day-to-day use, and most importantly actively reduce our carbon footprint. Recent advances in robotics provide the technological basis for research into material sensitivity and emergent printing.
There are a multitude of 3D printing platforms and software to create prototypes, however the 3D print market has yet to address the functionality of materials and how a wider range of materials can be printed. Biodegradable printing materials are slowly becoming available, but their usage is not yet widely adopted, and the majority of materials are environmentally unsuitable. Likewise, the hardware capabilities to print functional materials remain prohibitively expensive.
Theme 2. Innovative print technologies for reconstructing historic reprographic methods. From its roots in 19th century photomechanical history, the CFPR has undertaken high quality research into continuous tone photomechanical printing involving printing presses, ink and plates. The Centre is now combining 21st century digital processes, ink formulation and optical methods to high tech but largely forgotten, reprographic methods from the 19th century (Lippmann and Woodbury), to reinvent them for 21st century printing industry applications in high end continuous tone printing for art practitioners, security printing, micro printing and bespoke packaging. We wish to extend our interest beyond flat the flat surface to an exploration and care of a range of artworks including paintings, sculpture, ancient objects, ceramics and buildings.
There are obvious synergies with the 19th century and the 21st century artist and scientist, and with the introduction of new materials and different 2D and 3D print platforms there are implications for the care of digitally printed objects and artworks, for example, as digital platforms (cameras, computers, printers) are quickly superseded and become redundant (through new software, operating systems, file formats) thus impacting on image reproduction and colour compatibility. Due to the fugitive nature of inks and UV curing materials, objects may become brittle over time, printed artefacts including 3D printed objects and inkjet prints will degenerate and fade, thus calling into question the longevity of works and how to conserve them.
Theme 3: Novel Print Processes and Materials for Physical and Tactile Surfaces. Through active collaboration in European and other international and scientific networks, the Centre has established prominence in accurate colour measurement and high-quality reproduction of printed images. The Centre is now moving into 2.5D printing and is at the forefront in identifying new opportunities for physical and tactile surfaces. This has included low relief deposition of pigments and paints, and the development of software to convert images from pixels into lines, and that uses G-code to drive specially constructed painting and drawing machines.
The Centre is exploring how we can ensure our cities are more welcoming and navigable, engaging and informative for people with visual impairments and disabilities, as well as the very young and elderly. Research in this area has potential to convert intangible places and objects, for example, city or museum maps, buildings that are too large to apprehend, or fragile objects in museums that cannot be touched, into tactile pictures and printed objects. 2.5D printed maps will incorporate smart technology, communicate on different levels with its audience.
Plus we have one Senior Research Fellow who will work on Theme 4: Establishing the Canon of the Artists’ Print from a Practitioner Perspective. The postholder may be a writer, historian and/or curator who will be able to explore the relationship between print and practice. The aim of this post is to encourage and facilitate collaboration with artists, studios and communities through, research, teaching, CPD and knowledge exchange.
We already have the following partners signed up to a mix of live projects and support for the fellows:
Burleigh Potteries, CEL-UK, Cranfield Colours, Denby Potteries, Glass Technology Services Ltd, Hewlett Packard Bristol and USA labs, Imerys Group, Multiple Sclerosis Research, Ultimaker, the University of Leeds, Pangolin, Wedgwood (Fiskars), The Crafts Council, The National Gallery, The National Science and Media Museum Group, Bristol Legible City and Bristol City Council, The National Trust, St Cuthbert’s Mill, Toshiba Research Europe Limited, Create Education, ColourCom, John Purcell Paper, The Ken Stradling Collection, Spike Print Studio, Bristol, Worton Hall Studio, London and the RNIB.
R00183 Associate Professor: Industry and Transformative Technologies for Practice-Led Design (open ended post)
R00199 Associate Professor: Innovative print technologies for reconstructing historic reprographic methods (open ended post)
R00200 Associate Professor: Novel Print Processes and Materials for Physical and Tactile Surfaces (open ended post)
R00184 Senior Research Fellow: Industry and Transformative Technologies for Practice-Led Design (open ended post)
R00197 Senior Research Fellow: Innovative print technologies for reconstructing historic reprographic methods (open ended post)
R00198 Senior Research Fellow: Novel Print Processes and Materials for Physical and Tactile Surfaces (open ended post)
R00196 Senior Research Fellow: Establishing the Canon of the Artists’ Print from a Practitioner Perspective (open ended post)
We are looking for three artists, designer, makers or scientists with an international reputation to join the CFPR team for two years from the autumn of 2019 to collaborate with us to capitalise on current strengths and capacity to develop new and innovative ways of working with the multidisciplinary CFPR team and our partners on creating new work for international exhibitions, art and trade fairs
R00179 Artist/Scientist/Designer Fellow: Industry and Transformative Technologies for Practice-Led Design (fixed-term post for two years)
R00193 Artist/Scientist/Designer Fellow: Innovative print technologies for reconstructing historic reprographic methods (fixed-term post for two years)
R00194 Artist/Scientist/Designer Fellow: Novel Print Processes and Materials for Physical and Tactile Surfaces (fixed-term post for two years)
Early career research posts – these three posts are suitable for those who are looking for an opportunity for their first research post with the talent, motivation and intellectual rigour to develop into independent researchers and become future leaders in their fields. We will consider applicants who either already have their PhD, or, who are interested in undertaking a programme of doctoral level research training as part of the role - we have the option to extend these posts depending on future funding
R00174 Research Associate: Industry and Transformative Technologies for Practice-Led Design (fixed-term post for three years)
R00201 Research Associate: Innovative print technologies for reconstructing historic reprographic methods (fixed-term post for three years)
R00203 Research Associate: Novel Print Processes and Materials for Physical and Tactile Surfaces (fixed-term post for three years)
Technical posts – we have the option to extend these posts depending on future funding.
The Centre for Fine Print Research has broad a range of equipment including: wide format digital printers, traditional printmaking (screenprinting, etching, litho, and Victorian print technologies such as Woodburytype), Cameras and photographic equipment, computers, 3D printers, laser and waterjet cutters, CNC milling, robotic arms and plotting and cutting devices plus a fully equipped ceramics lab. A range of scanning and analysis equipment including electron microscope, UV-vis spectrometer, nanosizer, rheology equipment and mill.
R00177 Technician in Printmaking Technologies (fixed-term post for three years)
R00185 Technician in Product Design (fixed-term post for three years)
R00178 Technician in Software Writing / Computer Engineering (fixed-term post for three years)
Other posts
R00182 Business Development Manager (open ended post)
R00181 Administrator (fixed-term post for three years)
More details available at https://www.jobs.ac.uk/enhanced/linking/uwe-bristol-centre-for-fine-print-research-jun-2019
We are holding a recruitment session on the 18th July in the canteen at the Bower Ashton Campus - 3pm-6pm, for an informal discussion about the roles - register to attend at [log in to unmask] and please also send any questions to this email address.
To apply for a post - please apply online using the job title to search for the post you are interested in at http://uwe.ac.uk/jobs
The deadline for applications is 24th July 2019 at 23:59 BST
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