This is a guest post written by three student teachers on their Settings Outside of School placement; Christopher Prior, Danny Reynolds and Martin Blenkinsop.
Hi! We’re three aspiring trainee teachers from York St John University and we spent a week behind the scenes at the National Railway Museum’s learning department so that we could get a better understanding of learning outside schools. Our goal for the week was to take a good look at how children learn at the museum. We’ve done all sorts towards that this week: observed the explainers in their natural habitats, interviewed the higher-ups in the department, seen school groups doing workshops, and even taken part in some of those activities ourselves! We figured that to give you a better idea of how our week went we’d all tell you a little about our favourite thing from it!
This is a guest post written by Associate Curator of Rail Vehicles Bob Gwynne.
‘My grandad, (or sometimes my dad) used to drive Mallard’, is not infrequently heard from visitors to the National Railway Museum. For a change though we were recently contacted by someone whose grandfather had been based at Fleetwood shed and whose loco had been LMS ‘Crab’ no. 2700. He sent through a photograph of his grandfather taken in 1938 in the cab having discovered that this locomotive was now on display at the National Railway Museum in its earlier livery as LMS 13000.
This is a guest post by Graphic Designer Rob Derbyshire.
The common visual language used to depict railways in design often harks back to the romanticisms of British steam. The three-quarter view of a heroic locomotive thundering down the mainline surrounded by billowing smoke is an enduringly popular one, but how can graphic design make railways look cool?
Personally I’m a sucker for modernist design, the elegant use of typography, simple shapes and a well-selected colour pallet. I love the precise elegance of brand guideline documents, where each letter is perfectly constructed and the colours perfectly matched – an oasis of ordered tranquility.
This is a guest post by Exhibition Officer Naomi Collett
As Exhibition Officer, one of my main responsibilities is to manage the changeover of the museum’s exhibitions. This happens every four to six months, and is always one of the busiest times for the museum.
The latest changeover involved taking down Open For Business, and installing Parallel Tracks, a new work by artist Andrew Cross. This is the centrepiece of our Trainspotting season, and includes Andrew’s film Being There. The timeframe for exhibition changeovers can be as little as a week; this time we had just under three, but there was a lot to do.
Joe looks very small in the empty Gallery filling holes.
The first job was to take down all of the works which had been hung for Open For Business. Normally we’d use a team of at least three freelance art technicians, but as only one was available I stepped in to the breach! Between us, art technician Joe and I took down the works, packed them carefully, then filled and sanded all the holes in the walls. The gallery looked very empty with nothing hanging in it.
This is a guest post written by our interpretation developer, Jamie Taylor
Earlier in the year we launched a national campaign to collect stories and photographs for our Trainspotting season. It‘s been my job to look through all of the fantastic stories and photos we have received and select some of the best ones to share with you. These are displayed around the museum and on our website for you to explore and enjoy.
Working on the season has been quite an eye-opening experience and the ultimate in on-the-job training. I can now identify a Black Five from the shape of its smokebox, I know what it means to cab a loco and I recently copped my first class 47 diesel, 47580, on its way to Scarborough. All this thanks to the knowledge and expertise in our trainspotter’s stories.