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Introduction The Postgraduate Certificate and Diploma Design for Visual Communication grew out of the development of Graduate Certificates and Diplomas at the London College of Communication. It is in this regard I’d like first to remember Peter Cannings who died on Friday 16 November 2012. Peter, along with myself and Graham Diprose, pioneered these courses. They were offered to those wishing to convert career, up-skill or progress onto a Masters via a bridging programme of study. At a course development meeting Tim Molloy (Head of Creative Direction at the Science Museum) described Design for Visual Communication as like a foundation course for postgraduate study. It attracts non-design students from disciplines as diverse as molecular genetics, architecture, English and geography. It introduces design principles, related theories and visual research methods to its students. In parallel its project-based structure establishes and develops practical skills. Jamie Hobson, writing for Eye magazine, said of the course participants: ‘their strength instead lies in their research capabilities and their capacity to think beyond pure aesthetics. They learn basic compositional and typographic skills within a short period [and] use design as a communicative tool, not as an end in itself’. Eight people enrolled on the first Graduate Certificate Design for Visual Communication course in 2004. The course is now offered both in parttime and full-time modes and this year saw 57 students embark on their study. Graduates have gone on to gain employment with internationally renowned design agencies including: Fallon, Spin, Browns, Frost, Dalton Maag, Studio Myerscough, Pentagram, David McCandles, Lewis Moberley and the Design Laboratory. Other alumni have found employment with high profile institutions such as CERN, BBC, Unit Editions, MTV, Nickelodeon, Live Nation, John Brown Media and the Design Council. Many have shown enterprise and established their own companies. Ian Carr registered his studio, Labour + Play, as a limited company earlier this year. Alison Guile established LMNOP Shop and Studios upon graduating. Rebecca May had her Portmanteau book published by Merrell. Graeme Rutherford and Alex Edouard had their Scanzine poster reproduced in the V&A book of contemporary posters. Last year course work was published in Jan Gauguin’s Designing Diagrams book. Three graduates from 2011 worked on the Olympic Games related Nike ‘Journey to Greatness’ campaign. Annually students progress onto Masters courses including Goldsmiths, RCA, Reading, Brunel and the LCC. In 2011 Carly Holder and Emily Fox, alumni of the part-time Certificate course, achieved distinctions with their major project work they went on to do at Masters level. The course has benefitted from many excellent tutors including: Geoff White, Dave Dabner, Geoff Haddon, Paul McNeil, Vanessa Price, Susannah Rees, Ben Richards, Tory Dunn, Mike Bradshaw, Ian Storey, Darren Raven, Alyson Hurst and Teal Triggs. The quality of the student’s finished work is testimony to the LCC’s excellent facilities and the very best technical team you could hope for. As I write this introduction students from the course are designing the publication and exhibition. We must have faith that our teaching methods have been effective, you are holding the evidence of student learning in your hands and seeing it around you. Tony Pritchard Course Leader Postgraduate Certificate and Diploma Design for Visual Communication t.pritchard@lcc.arts.ac.uk

This course is more than a skills based exercise. It provides high quality, basic design training and an introduction to critical thinking for students who have not necessarily come from traditional design backgrounds. It has established itself as one of the keystones of the LCC curriculum and continues to produce graduates of a high professional calibre.

I always looked forward to teaching on the course, there was the right mix of enthusiasm, efficiency and humour. The students being postgraduate were that bit older and seriously committed to learning the basics of graphics. The result was a great learning environment. Geoff White FISTD, Original First Things First signatory

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Professor Teal Triggs, Royal College of Arts

This unique course takes students from diverse backgrounds [and] allows design practice to be understood in different ways. Ian Noble, co-author Visual Research


The course gave me a strong understanding of the fundamentals of graphic design and visual thinking. Since graduating I have gone on to work for my dream client list and win numerous international design and advertising awards including two prestigious Cannes Lions. I am currently the Creative Lead of a small Hoxton agency creating great work for big street-wear and footwear clients. My advice: work hard at your coursework and you’ll reap the rewards of the great tutors and knowledge this course provides. You’ll be set-up for your new life and hopefully get paid to make beautiful work.

I think a no-nonsense approach to the creative arts can only be a good thing in an era where getting into the industry is more ferociously competitive than ever.

Nick Hearne (2005), U-Dox, Blue Hive, Wunderman

It’s only a year but you certainly learn a lot. It’s a great opportunity to produce a lot of work in a short space of time and create a good body of work for your portfolio. I liked the fact that it was practical and hands-on – these are the skills you really need to prepare you for the working world. After leaving the course, I began interning at the design studio Praline. I’m now there almost a year on as a Junior Designer.

Within three months of finishing the course I was selected for a number of interviews, one of which landed me the job as Junior Designer at John Brown Publishing Annalisa Premoli (2006), MTV, Nickelodeon, John Brown Media As a working graphic designer with no formal education the course was a perfect year to get used to academic life and covering the essential design theory I lacked. Since then I’ve completed an MA and a job at Intro. I worked there for two years and I am now a freelance graphic designer. Tal Brosh (2008), Intro

Laura Heeks (2008), Guardian Creative, GQ, Pentagram [The] critical appraisals were excellent, meticulous and just what I needed to prepare me for the design world. Ian Carr (2009), Labour + Play

Venetia Thorneycroft (2011), Praline The course is set up to teach you the basics of graphic design in a short amount of time. It’s intense but very rewarding. As to what I did after graduating: three month internship at Studio8 followed by three month internship at Spin, followed by three month full-time freelance at Unit Editions and then since October I’m full-time employed at Unit Editions.

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Sarah Schrauwen (2011)


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Postgraduate Cer tificate Design for Visual Communication

Visual Language and Grammar Line, Circle, Square

Web martalmeida.com

Email martalmeida.design@gmail.com

My take on visual grammar was to try and understand the relationship between basic shapes and our surroundings. It all came together when I was looking for hidden elements in my pictures and found myself staring at a picture of snow, trying to analyse the shapes. I then went on trying to compile a few images that  featured certain elements such as squares, circles and lines. Some were obvious and others were abstract. In order to communicate we can either use words or try to make our point through the various elements of visual language. In some part that is what we do as designers – we use images and graphic elements to communicate to an audience. I feel that a good understanding of visual language and grammar will be highly beneficial to me as a graphic designer.

Name Marta Almeida


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Postgraduate Cer tificate Design for Visual Communication

Visual Language and Grammar Line, Circle, Square

Web marzena-design.com

Email marzena@marzena-design.com

This publication explores the visual language and grammar hidden within the physiology of the human body. It attempts to show how the human body can be perceived as a vast network of the basic elements of visual language: circles, lines and squares. In my mind the human eye perfectly illustrates the relationship between a dot and its background. The pupil, as the dot in the middle of the eye, possesses a radiating power; the iris muscles expand and contract to control the size of the pupil and the amount of light entering the eye. The human skin, with its complex network of lines and ridges, takes me on a journey through its anatomy of circle, square and trangle-like patterns. Through my study of marble prints I explore the vast networks of patterns within the cells, neurons and connections in the human brain.

Name Marzena Bednarek


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Postgraduate Cer tificate Design for Visual Communication

Professional Contexts Surely there may never again be anything like it

Web behance.net/matthewconrad

Email mcc@conrad.uk.com

The title is taken from an article in The Times newspaper in 1956 reporting the remarkable feat in a cricket Test match in which an entire team (Australia) were beaten by one man (Jim Laker). I am fascinated by archive material and old news reports. With this project I wanted to explore how this material could be re-purposed into a format that would appeal to a modern day audience. Working with material from the archive of The Times, I designed a series of books covering all aspects of the newspaper’s reporting over its more than 200 year history – news, sports, the arts, cultural life etc. I created a hardback from the sport series based on all the reports of this famous cricket game. The reports were set in a more readable format than the historic newspapers and are contextualised with images from the world of 1956.

Name Matthew Conrad


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Postgraduate Cer tificate Design for Visual Communication

Visual Language and Grammar Iconic London

Email katie.v.dolphin@gmail.com

My project explores visual grammar in the environment, considering the reality and abstraction of London’s buildings. I deconstructed five iconic structures – the Barbican, BT Tower, Somerset House, St Pancras Station and the Tate Modern – in three books, divided into lines, circles and squares, through a series of drawings, photographs and observations.

Name Katie Dolphin


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Postgraduate Cer tificate Design for Visual Communication

Information Design Red Right Hand

Email romeplow70@gmail.com

I created a 14 poster set, Red Right Hand, which explores the lyrical themes in the works of Nick Cave and the Bad Seeds. I wanted to document the progression or regression of the emotional content of a body of work that spans 25 years; what becomes important and what fades away over time? Much of the content is highly charged, but I wanted to visualise the data in a sedate manner.

Name Nicholas Evans


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Postgraduate Cer tificate Design for Visual Communication

Visual Language and Grammar Circle, Line, Square

Web cargocollective.com/jessicafoley

Email jessicafoley5@gmail.com

In order to develop a deeper understanding of the visual world it is often necessary to see the abstraction behind the reality. By seeing the abstract it is then possible to identify analogous relationships between similar visual objects. In these three publications exploring the line, the circle and the square, my aim was to depict abstract expressions of concrete concepts linked to the environment using found objects for stamping and photography. Christian Leborg stated that ‘Visual language has no formal syntax or semantics, but the visual objects themselves can be classified’. These publications are an investigation into what the system of Visual Grammar is made up of, with reference to Gestalt theory.

Name Jessica Foley


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Postgraduate Cer tificate Design for Visual Communication

Professional Contexts Italian Typographic Journal

Web cargocollective.com/susannafoppoli

Email susanna.foppoli@gmail.com

This project consists of the design of the first issue of a limited editorial publication about Italian typography. Each issue comes in a slipcase of a different colour with a coordinated card holder containing a set of collectable cards about different typefaces. The contents of the magazine include features about typographic movements, historical figures and typefaces, case studies, special columns of interviews and conversations relevant to critically understanding the history and contemporary status of Italian typography would also be included. Different production techniques such as the use of embossed papers, letterpress printing, french folds, fold-outs and tip-ins have been considered to create a unique and bespoke reading experience.

Name Susanna Foppoli


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Postgraduate Cer tificate Design for Visual Communication

Information Design History of Cameras

Email nesslgould@hotmail.com

For my Information Design project I created a timeline of the history of cameras. As you can imagine there are many types of camera, but I decided to focus on particular models that represent a significant development in technology (i.e. models that were the first to incorporate significant changes). The poster displays details including the year the camera was released, the change in technology it incorporated, and (if famous for it) the inventor of the model. All cameras have been stencilled and scanned to create a sharp illustrative edge. The design of the poster was influenced by Josef Muller-Brockmann, by using a grid to arrange the images and type.

Name Vanessa Gould


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Postgraduate Cer tificate Design for Visual Communication

Information Design Bond...James Bond

Web cargocollective.com/siobhanhickey

Email siobhanhickey@gmail.com

As James Bond was celebrating 50 years inthe cinema, and with a new Bond movie coming out, I thought it would be quite topical to do my Information Design project about Britain’s most famous spy. Using a timeline arranged as a circle, I’ve focused on two things Bond is most famous for: the girls and the villains. To highlight Bond’s longevity, I mixed the old with the new by creating a vector-based infographic with a letterpressed title. This also ties in with Bond’s persona of a spy by being well groomed but a bit rough around the edges too.

Name Siobhàn Hickey


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Postgraduate Cer tificate Design for Visual Communication

Information Design Every Station and Stop

Web tomhornby.co.uk

Email tom@tomhornby.co.uk

Each point plotted on this map represents a public transport station or stop in Great Britain. I chose to work with this information because it presented a great opportunity to visualise a vast amount of data in an accessible yet unusual way. My intention was to create something that people could engage with at different levels, so, by printing the points at a small size, I was able to allow the viewer to reveal high levels of detail simply by moving closer to the image. The data for this project was sourced from The National Public Transport Data Repository and was collected over the period of a week on three separate occasions between 2009 and 2011.

Name Tom Hornby


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Postgraduate Cer tificate Design for Visual Communication

Visual Language and Grammar Microscapes

Web cargocollective.com/linnejenkin/

Email lejenkin@gmail.com

Microscapes is an exploration of visual language at a micro scale. By making abstract compositions from microscopic images, I found that the basic forms of visual language: lines, circles and squares, were universal even at the tiniest of scales. After being reduced down to simple shapes, many of the microscopic images began to take on the appearance of landscapes familiar to me at larger scales – a microneedle vaccine became analogous to a pine forest, the surface of a leaf like an aerial photograph of the Amazon River. Using this approach, relationships between seemingly different objects, places and things could be formed.

Name Linne Jenkin


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Postgraduate Cer tificate Design for Visual Communication

Colour and Structure Design Principles: Colour

Web cargocollective.com/hannahjones

Email hannahejones89@gmail.com

Within this storyboard I attempted to explore the different definitions of colour theory, by experimenting with inks and water. Originally, I had tried a purely digital approach with my design, however, I found that by experimenting with raw materials produced interesting results that I could then manipulate digitally. The inks produced some lovely details and textures that were captured when scanned onto the computer. As each of the definitions are visually unique, the layout of the grid creates a sense of structure and consistency to the storyboard.

Name Hannah Jones


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Postgraduate Cer tificate Design for Visual Communication

Professional Contexts Beware or BE–Aware

Web rominakhan.com

Email romina11@hotmail.co.uk

This book is about ‘Promoting Tourism in Pakistan’, a subject which is extremely close to my heart. Due to terrorism and extremism, foreigners – and even Pakistanis – are hesitant to visit the sights that were once popular tourist resorts. My idea was to let the world know, through this publication, that despite all the uncertainty in Pakistan, ‘The Northern Areas’ are still safe places to visit. From travelling almost the entire Northern area, I know that Pakistan is a land of diverse topography and cultures; from mountains and scenic lakes, to serene valleys and awe-inspiring deserts filled with amazing wildlife: Pakistan has it all.

Name Romina Khan


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Postgraduate Cer tificate Design for Visual Communication

Typographic Hierarchy Graphic Dialogue

Web behance.net/kudrycka

Email kudrycka@yahoo.com

This typography project enabled me to focus on and explore the role of grids and composition in the design process. The placement of the sections of text is used to communicate the relative importance of the information. The designer can organise words or images within a structure with additional criteria such as hierarchy, order of reading, spacing and contrast. The poster can be simply divided into a traditional grid system, while the typographic hierarchy allows the reader to scan a text in order to pick out the most important points.

Name Joanna Kudrycka


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Postgraduate Cer tificate Design for Visual Communication

Structure and the City The Breaking Point

Web cargocollective.com/carolinamagro

Email carolina.magro88@gmail.com

This publication explores the ways in which our sight can be attracted to spots of colour around the city. The project focuses on the visual effects of striking colours defined as Breaking Points. As in physics, a breaking point is considered as a force which interrupts something visually static and draws attention to it. Humans are strongly effected by change, either visual or audio: people constantly surround them and sometimes need to adjust themselves according to those changes.

Name Carolina Magro


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Postgraduate Cer tificate Design for Visual Communication

Visual Language and Grammar

Web cargocollective.com/kyleom

Email kyleomurchu@gmail.com

“Negative Space is beautiful, create it, don’t just fill it up.” This quote from Timothy Samara represents my work as a graphic designer well. Negative space is something which always fascinates and captivates me. It is something that I work with alot within my editorial design and can be seen throughout my work. This piece: ‘Visual Grammar’ is based on the basics of graphic design looking at simple aspects of layout, grouping and patterns through the line, circle and square.

Name Kyle O’Murchu


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Postgraduate Cer tificate Design for Visual Communication

Colour and Structure Design Principles: Colour

Email otcherek@gmail.com

With my knowledge and background in printing (flexography and lithography), this project was of particular interest to me. Having initially experimented with colour ink within the print laboratory, I looked at ways which this could be represented in digital format. I used the colours created in the print laboratory as a guide to mixing the colours digitally in Illustrator; and went on to create a final design which reflects the principles of colour theory through the physical process of colour mixing.

Name Eugene Otchere


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Postgraduate Cer tificate Design for Visual Communication

Information Design Education and Equality

Email dan@danielshannon.co.uk

Data published in the OECD Education: ‘At a Glance 2012’ report, suggests that men with a tertiary education earn $340,199 (USD) over the course of their working lives, while equally well-educated women have to settle for a mere $235,680. Using this data, coupled with information from a second OECD publication (Gender Equality in Education, Employment and Entrepreneurship: Final Report to the MCM 2012), we can begin to explore how policies that address affordable childcare, gender-based vocational decisions and general cultural expectations, can help us create more equitable societies and help close the pay-gap for good.

Name Dan Shannon


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Postgraduate Cer tificate Design for Visual Communication

Professional Contexts

The initial idea for my project came from images I took on a research trip to the Tate Modern. Reflections of the building in the photos led me to become interested in abstractions created by relections. From here I began considering similar images within the medium of films, including Bladerunner, and 2001: A Space Odyssey. This is reflected throughout my project.

Name Gary Sobczyk


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Postgraduate Cer tificate Design for Visual Communication

Visual Summary

Email david.sokan@gmail.com

My visual summary is a project which displays some highlights from my research and development work throughout the year. It gave me a chance to display some of my more experimental work and things I’d spent time documenting, evaluating and contextualising. I chose to display these five spreads as they contain some of my most stand-out work. I’m particularly proud of the geometric typeface that I developed, as completing this has been one of my biggest accomplishments from the year.

Name David Sokan


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Postgraduate Cer tificate Design for Visual Communication

Information Design Tea Time

Web workplaycreates.wordpress.com

Email workplaycreate@hotmail.com

Teatime was a project I undertook documenting how much tea I drank over a four week period. Each time I had a cup of tea I recorded the time, brand, maker, and whether I had sugar or sweeteners and I took a photo. I decided to chronicle each time I had a cup of tea to see if there was any pattern in the results.

Name Bethany Wood


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Postgraduate Cer tificate Design for Visual Communication

Information Design Camoflage Milestones

Web storystory.com

Email ny@storystory.com

I like pattern making, and camouflage design is something that I’ve become very interested in. In focusing on this area for an information design project, I wanted to convey not only the visual variety of camouflage, but also some of the technical reasons and historical context behind its development. The challenge was to find a simple structure that could present this graphical and textual information in a clear and attractive way whilst also providing further information-based pointers for the viewer via a broader timeline structure: ‘TRADITION’, ‘CHANGE’, etc. – at the top of the poster.

Name Nicholas Yannoulopoulos


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Postgraduate Cer tificate Design for Visual Communication

Information Design Declining Bee Population

Web cargocollective.com/alexandrayoule

Email alexandrayoule@gmail.com

A subject that has been highlighted frequently in recent years is that our Honey Bee populations are falling dramatically. Although this is having an impact both ecologically and economically, this work focuses on the direct impact it will have on our diets should it continue. This poster shows how different crops depend on pollination by honey bees, and what, from the honey bee’s decline, might we expect to see disappearing from our plates in future years.

Name Alexandra Youle


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Postgraduate Cer tificate Design for Visual Communication

Type Classification

Email arijanazeric@googlemail.com

For the type classification project we had to choose six different typefaces and find a way to show their distinct qualities and anatomy. For mine I chose Didot, Futura, Baskerville, Gill Sans, Akzidenz Grotesk and Helvetica. After cutting letters out and putting them into water, I wanted to see what ‘natural’ dynamic they would develop and how they would move and spread out. Having looked at Hamish Muir and Wolfgang Weingart’s work,  I figured that it would be best to let the typeface speak for itself, combined with some interesting information about its anatomy. I did some research on where these typefaces are most prominently used and showed the typeface off using prominent texts. It was important to me that the viewer got a feel for the typeface before he started reading. I wanted the viewer to remember where he might have seen that typeface before or what he associates it with.

Name Arjana Zeric


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Postgraduate Diploma Design for Visual Communication

How will enhanced captioning improve broadband, interactive and digital TV experiences for the hearing-impaired

This project is aimed to bring awareness of new techniques to the those responsible for onscreen captioning. In undertaking this project my intension is to provide tools to facilitate further engagement with onscreen content enhancing the visual experience for both hearing-impaired and able-bodied users.

Name Taiba Al-Arayedh


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Postgraduate Diploma Design for Visual Communication

How can typographic and spatial design express and promote the celebration of Singlish as an integral part of Singapore’s cultural identity?

Web cargocollective.com/felyanne

Email felyanne@hotmail.com

My project looks at expressing the idea of Singlish as an integral part of Singapore’s cultural identity to be celebrated, through a typographic and spatial design. “Singlish, Our English is very Powderful” (‘powderful’ is a deliberate mispronunciation of powerful), features installations celebrating Singlish. From a distance it may seem purely aesthetic but upon taking a closer look, visitors can actively engage with and learn directly from the spatial interventions, maneuvering around the letters and through the spaces created. My outcome consists of a logo for the exhibition, a series of four A2 promotional posters,one A2 poster illustrating the intended exhibition, installations and a series of postcards.

Name Fely Anne Ang


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Postgraduate Diploma Design for Visual Communication

How graphic design can be able to express fear, based on the feelings of the main character on a Horror Gothic Novel?

Web behance.com/VlackonBlack

Email virginia.botas@gmail.com

The starting point for this project was to focus on the fear of death. My intention was to create a graphic result that would give the chance to experience, through the reading, this fear of dying that exist in us all. I chose the novel ‘The picture of Dorian Gray’ by Oscar Wilde and designed every page based on the evolution on the feelings of the main character.I made the final outcome as a book in which the pages where changing from white to black. I associated the white with beauty, youth, innocence, and used it on the beginning to express the personality of Dorian before his picture is painted.As you keep on reading, Dorian gets corrupted by his own beauty, sells his soul to the devil to make his portrait to grow old while he remains young forever. He becomes an evil person, but as he remains beautiful forever, is the portrait that shows the ugliness of his soul.The transition of the pages from grey to black represents that idea.

Name Virginia Botas


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Postgraduate Diploma Design for Visual Communication

How can Graphic Design help produce a set of instructions for manual photography, in order to promote film photography to students?

Web cargocollective.com/adrianambrioso

Email lalalaokay@gmail.com

My final project focuses on film photography. The idea was to use graphic design, to promote it with a different approach from the existing campaigns. This was achieved with the production of a ‘Film Photography Starter Kit’ that contains a few items that help both new and medium level users operate their cameras. The kit contains: a tote bag, one roll of film, a set of cards explaining some features and important information, such as: where to buy and develop film, and a wheel that helps setting the aperture and shutter speed according to the light available.

Name Adriana Brioso


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Postgraduate Diploma Design for Visual Communication

How can the re-branding of a fish and chip be used to fish sustainability and in form consumer choice ?

Web cargocollective.com/justpete

Telephone 07595629771

How can the rebranding of a fish and chip shop be used to champion fish sustainability and inform consumer choice? It is estimated that between 75-95% of fishstocks are over fished and within 50 years itis conceivable that these stocks will face totalcollapse. I felt creating a pop up fish and chip shop was key to delivering this message. I wanted to create a space that was in stark contrast to the experience of a typical fish and chip shop. I created associated materials, the brand vehicles, T shirts, takeawayboxes and the application to an environmental space.

Email just-pete@hotmail.com

Name Peter Carr


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Postgraduate Diploma Design for Visual Communication

How can the panoramic format of data illustration, be used by students and teachers to support their college presentations?

Email giuliocipone@gmail.com

The landscape method used in information design to display complex topics is a mix between illustration and info-graphic: “an argument is generally displayed over a wide panoramic format view. This method allows to understand a complicated phenomenon, catching its evolution over time”, its causes and effects as well as connections between parts. This method can be useful for college presentations as it entirely displays an argument whereas a slide presentation just offers the audience the current slide and the previous ones are easily forgotten. Further uses of this format could be to illustrate complicated and ‘boring’ arguments in high school books. The American journalist Jill Lepore on the pages of The New Yorker explained how social events have led to the current controversial situation around firearms owning we witness in America today. This is the panoramic illustration of her article.

Name Giulio Cipone


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Postgraduate Diploma Design for Visual Communication

How can the extreme gay imagery of the 80s be reinterpreted by in cover art today?

Email f.corsi1@arts.ac.uk

Bringing together the world of music, fashion and graphic design the project is about the visual reinterpretation of how the gay culture influenced Long Playing covers during the 80s. There are three different designs that emphasize three different features of the gay culture: masculinity, femininity and androgyny.

Name Fabio Maria Corsi


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Postgraduate Diploma Design for Visual Communication

How does the culture of India influence graphic design and help promote the country internationally?

Web cargocollective.com/poojadhargalkar

Telephone 07544821533

Studying in London, in the year of the 2012 London Olympics this summer, helped me as a designer to observe and learn about the look and feel of the games. In the coming few years, India with its growing economy will also stand a chance to be one of the candidate host countries for the Olympics. This inspired me to develop a hypothetical project: if the Olympics come to India! I intend to build a scenario of the year 2020 when India could be the country to host the Olympics. As my study area is pictograms, I would like to design sports pictograms for the Olympics in India in the year 2020. I have shown my design process in producing Olympic pictograms for India that talk about its history, art and culture. In theory and practice, the outcome of this project can be one of the mediums to propose India as a candidate to host the Olympic Games.

Email poojadhargalkar@gmail.com

Name Pooja Dhargalkar


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Postgraduate Diploma Design for Visual Communication

How can typography absorb the aesthetics of Indian street typography to give Indian Design Culture a new identity?

Web cargocollective.com/suhanigupta

Email 1.suhani@gmail.com

My final project focuses on the typographic forms of Delhi streets. I am referring to the hand-painted signboards. According to Rathna Ramanathan, a graphic designer, “The hand-painted sign is often seen as the pulse of everyday India”. The aim was to use graphic design to absorb the aesthetics of Indian street typography to give Indian Design Culture a new identity which was attained by developing a typeface ‘DELHIWALLAH’. The outcome of this project consists of two posters, a set of five flip books and printed merchandise that describe the concept as well as the application of the typeface.

Name Suhani Gupta


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Postgraduate Diploma Design for Visual Communication

How can information design be used to explore the historical differences and current similarities through a social and cultural perspective between La Roma (Mexico) and Brick Lane (London)?

Web analaurad.com

Telephone 07928570592

Making connections between two cities may be more complicated than expected. For a proper comparison between the present of two different places, the correct starting point begins with the past, which helps illuminate the nuances within the current characteristics. I decided to make a book that connects the historical differences with the current similarities between two different areas, being La Roma (Mexico) and Brick Lane (London) two trendy and fashionable areas that somehow perfectly fit each other.

Email analaurad89@gmail.com

Name Ana Herrera Velasco


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Postgraduate Diploma Design for Visual Communication

How can Dante’s Inferno be presented in a more engaging way through typography and illustration?

Web cargocollective.com/nejcjanzekovic

Email njanzekovic@gmail.com

Because of its originality, my final outcome was designed for collectors and those that study Dante or his work. My goal was to add a different designer’s perspective on Dante’s Comedy, starting with ‘Inferno’. I wanted to achieve the balance between three different languages that are in the book with all those fine illustrations, photos and designs that were collected during this period of time. The main outcome is the hard-covered book, packed together with the giant poster of Dante’s Journey through nine circles of Hell, based on London’s Tube map. The designed final piece represents a special or limited edition of Dante’s Inferno with 29 illustrations from 22 artists. Each illustrationis made specifically for Slovenian commentary, for almost every Canto, which gives the work a good balance and more authenticity. I see it in the hands of collectors, curators, museums, auction houses and people who study Dante or his work.

Name Nejc Janžekovič


43

Postgraduate Diploma Design for Visual Communication

How can visual communication be used more effectively to create awareness amongst the residents in Muswell Hill about the Pinkham Way Alliance Campaign?

Web cargocollective.com/nkalli

Telephone 07814429024

The Pinkham Way Campaign is creating awareness of a waste disposal facility proposed by The North London Waste Authority and supported by Barnet Council who owns the land. The site sits amongst residential properties, retirement homes and schools; the closest nearby building to only be 86 metres away. I wanted to use the none conventional Guerrilla tactics, digital technology as well as a psychological play on Alfred Hitchcock’s The Birds to bring this threat to local residents to the foreground. I created a QR code that when scanned on your mobile phone means you are able view your surroundings in real time but with hundreds of flies zooming in and out of screen. This gives the viewer a glimpse of what could be and makes them aware that it will affect them.

Email nykalli@hotmail.com

Name Nik Kalli


44

Postgraduate Diploma Design for Visual Communication

Can an interactive website based upon user-centred information design principles present news stories in a way that makes them more digestible for readers of internet news?

Email geoff_li@hotmail.com

For my final project I set out to present news stories in a way that makes them more coherent as narratives. My outcome is a proposal for a website which allows users to filter news information from the internet by topic, date and source; the electronic piece is a working prototype of the website whilst the printed component visually explains it.

Name Geoff Li


45

Postgraduate Diploma Design for Visual Communication

How can information and identity design grow awareness and interest in saving food?

Web cargocollective.com/smah

Email sharonjmah@gmail.com

The term food waste automatically brings up the notion of trash. My major project aims to reframe excess food from something that can be wasted to a treasure that has been lost and is awaiting discovery. The result is Food School, a food club based in South London. Through information and identity design it encourages people to value something that seems abundant, using activities in a series of workbooks that present food preservation as an act of exploration. It plays on traditional wisdom and the ‘common sense of previous generations: that food is precious and should be preserved. 

Name Sharon Mah


46

Postgraduate Diploma Design for Visual Communication

How can video projection using basic theatre games enhance the experience of spectators attending a performing arts festival?

Web cargocollective.com/utkarshmarwah

Email utkarshmdel@gmail.com

The final outcome is a set of four interactive video projection games that can be played in the foyer of performing arts festivals and in the classroom as a part of theatre activity for children.Games offered in this publication are fun ways to help sharpen visual, creative and memory skills that are critical for adolescent years. I have designed two versions of the final output. First is a detailed picture book version with a CD and second is a quick reference CD version.

Name Utkarsh Marwah


47

Postgraduate Diploma Design for Visual Communication

How can a pictorial form of narrative be used as a social commentary, which can overcome language and cultural barriers?

Web cargocollective.com/anitasiddumane

Telephone 07928570592

The purpose of my project is to create a pictorial narrative which could be used for social commentary. Using these pictorial symbols to address issues that are related to cruelty towards animals is the main theme of the project. The farming industry, fur trade, testing on animals, and the abuse of companion animals are some of the common areas of concern in regards to animal rights. My project intends to visualise these issues in form of pictorial representation. With several advertisments being banned due to use of obscene imagery, these pictorial symbols can serve as an alternative solution to the social marketing problem faced by animal rights organisations.

Email annimane@gmail.com

Name Anita Mane


48

Postgraduate Diploma Design for Visual Communication

How can pictograms be used to increase the effectiveness of the promotion of Poland in a battle against intolerance and racism towards the Polish community in the UK?

Email organiccolours@yahoo.com

The aim of my project is to promote Poland, the unknown, known but sometimes forgotten. This promotion is to be a tool in the battle against intolerance against the Poles in the UK. I produced a set of 12 postcards that are divided into four sections: famous Polish people, tourist destination, artists, Polish food and a poster as a little introduction to the cards. The information I wanted to present I contained in illustrations appearing on each card. At the back of each card I placed a description of what is on the front. One of the titles of the project is ‘I LOVE POLAND’ which can be read when cards are arranged together facing downwards.

Telephone 07544821533

Name Sylwia Markowska


49

Postgraduate Diploma Design for Visual Communication

How can we design books that engage the sense of touch as much of the sense of sight to enhance the user’s experience?

Web cargocollective.com/anamelonet

Telephone 07956607731

My final major project focuses on designing novels that communicate their content through sight as much as through touch. I focused on the three bestselling British classics (according to the bookshop Foyles): Pride and Prejudice by Jane Austen, Great Expectations by Charles Dickens and 1984 by George Orwell (in order of sales). I then picked five key moments of each novel and tried to design each one individually in a way that the user would engage with it through sight and touch. I tried to use materials that would be appropriate to each message individually. This is aimed at book arts collectors, people who really appreciate the haptic and the handcrafted element of books, as well as British classic literature.

Email anamcjmelo@gmail.com

Name Ana Melo


50

Postgraduate Diploma Design for Visual Communication

How can visual communication help alter the stereotypical view of Islamic women?

Email giadamialich@gmail.com

For my final major project I focused on the role of Islamic women in Western and Eastern countries, in which the communication between them and the rest of the world has always piqued interest and at times controversy and scandal. The Western world finds it difficult to accept the diversity that exists between their culture and ours. The culture in the Western world where women are free to disrobe in every form and in every way − in front of men, women and children. Their culture, however, instilled with deep historic religious roots, requires them to cover themselves. This physical barrier imposed on these women has removed the element of freedom which Westerners take pride in. Freedom allows a person to communicate the others freely and without judgment. Due to the fact that these women are unable to be seen by the public eye, they are unable to defend themselves against people who have created a negative stereotype of their community. The posters communicate that these women are not oppressed, not hidden, not without an opinion, not inferior to men.

Name Giada Mialich


51

Postgraduate Diploma Design for Visual Communication

How can graphic design make safety information on airplanes more accessible and interesting for young people and make the communication more effective?

Email kanpatu@gmail.com

With my design outcome, the target audience has three opportunities to receive safety information. Two of the outcomes are pre-flight so there is more chance of engaging the target audience. I have designed interactive safety information for the airline website and another pre-flight piece of safety information design is the printed manual, in card format, which can be ordered from the airline. For safety communication in-flight I decided to redesign the existing materials: an interactive video briefing on screen and printed safety communication located in the seat pocket. In all these designs, the information has been made clearer with the visuals and information grouped in a different way.

Name Kunpatu Photong


52

Postgraduate Diploma Design for Visual Communication

How can interactive media and visual communication increase foreign tourism in Porto?

Web cargocollective.com/joaopinheiro

Email pinheiro.cmj@gmail.com

With the digital magazine market growing, I developed a publication about Porto, Portugal, for the iPad. The aim is to increase the number of British tourists that travel to this city. This magazine is focused on the subjects that the British most appreciate when travelling abroad: nature activities, sun and sea, and cultural tourism. The navigation system of tabs and buttons has simple geometric shapes. There is also a help button in case the user wants to understand better how the magazine interface works. I used different shades of grey for the layouts so the user could focus more on the colourful photographs.

Name Jo達o Pinheiro


53

Postgraduate Diploma Design for Visual Communication

How can a children’s picture book clearly and effectively encourage and engage children to recycle regularly?

Web cargocollective.com/moniqueregalado

Email monique.b.regalado@gmail.com

It is common knowledge to everyone that a child’s brain is like a sponge: it absorbs knowledge instantly. Children are considered to be very inquisitive beings that aspire to learn something new everyday and question what they do not know and most are unaware of proper waste management disposal via recycling. Explaining the subject of recycling to kids can be difficult because the processes involved are complex and utilise a visual language that may be too technical for children between the ages of three to five years old to fully grasp and easily remember. The actual medium used in explaining the process of recycling to children is both key and crucial in the child’s understanding of this subject matter. Despite the difficulty present in teaching the importance of recycling to children, it is not an impossible task. My outcome, a children’s picture book, aims to not only entertain but to subtly educate the child about reducing, reusing and recycling trash regularly.

Name Monique Regalado


54

Postgraduate Diploma Design for Visual Communication

What role can design play in the future of the printed book?

Web cargocollective.com/HenriettaRoss

Telephone 07890530936

For my final major project I looked at the role of design in the future of the printed book. I focused on how new media structures, such as hypertext (where text is linked to further sources of information online) could be applied to the printed page. For my final major project outcome I produced a book about the work of twentieth century typographer, Jan Tschichold. I used the physicality of the printed page to replicate and apply new media structures to communicate the content of the book.

Email hrossjm@gmail.com

Name Henrietta Ross


55

Postgraduate Diploma Design for Visual Communication

How can graphic moving image make statistics appealing to the general public?

Email stephania.silveira@gmail.com

For my final major project I created an animation about murder rates around the world. The video starts with a series of infographic man icons. The icons are familiar having been used in most social data visualisations. To represent murder rates, I used animation to ‘kill’ each graphic man. As they are killed, the murder rates for different countries appear below the graphic. A very obvious, but amusing way to show where in the world are you most likely to be killed.

Telephone 07544821533

Name Stephania Silveira


56

Postgraduate Diploma Design for Visual Communication

How can typography on book covers be both aesthetically pleasing on print and function interactively on digital eBook Readers?

Email charlotte.elisabet@gmail.com

My final project discusses the aesthetic and meaning of typography used on today’s book covers and attempts to give typography a new function for eBooks in a digital environment, such as in eReaders. My final outcome consists firstly of four typographic front covers of novels from different genres that have descriptive words, names of characters, places and quotes to build a visual narrative, instead of using an image. Secondly, it is a digital prototype that shows how these descriptive words could function as tags which, when clicked on, will give further information on titles that share that same tag.

Name Charlotte Svedberg


57

Postgraduate Diploma Design for Visual Communication

How can graphic design encourage people to become more ethical consumers?

Web cargocollective.com/philippathomas

Telephone 07837009724

The UK spends £21 billion on clothes annually, however out of this, only £171 million is spent on clothes which are made ethically. The garment industry is teeming with unethical practices, yet despite it’s massive strain on people and planet we continue to buy large amounts of clothes each year, without a second thought to how those clothes came to be on our shelves. The aim of my project was to ask how graphic design can encourage people to become more ethical consumers; so my final outcome is a new ethical rating system which would be displayed on each garment as a label, designed to inform the consumer how ethical or unethical that piece of clothing is. For my outcome, the ethical rating and labelling system was delivered in the form of a press pack, which would be given to members of the press at an exhibition about the labelling system.

Email philipparuththomas@gmail.com

Name Philippa Thomas


58

Postgraduate Diploma Design for Visual Communication

How can visual communication, in the context of interactive design, be used in the environment of the London Underground to improve the emotional experience of those who use it?

Web cargocollective.com/lizzietoole

Telephone 07814529810

The outcome of my major project is an A1 poster which presents the concept of Up in the Squares – an interactive installation conceived in response to Art on the Underground’s mission to ‘provide a world-class programme of contemporary art that enriches the Tube environment and our customers’ journey experience’. The key objective of the installation is to improve passenger experiences of the Underground on both an aesthetic and social level. Tube passengers are the designers of the installation with Oyster cards acting as catalysts. By creating the visualisation collectively the isolated and remote atmosphere of the Underground is lessened.

Email litoole@gmail.com

Name Lizzie Toole


59

Postgraduate Diploma Design for Visual Communication

How can visual communication be employed to demonstrate and raise awareness amongst the target group of the connections between art and science?

Web cargocollective.com/jeanvatchara

Email jeanvatchara@gmail.com

Everyone who has been through education will know that there is an implicit rift between the two cultures, of the sciences and the arts. It is rather odd that this has been publicly established half a century ago. The book identifies how the rift was established, and also demonstrates the two subjects’ connection throughout history with a metaphorical approach, ‘the tree of knowledge’. By employing the multi-strand narrative method the book can be read in different ways. There is the main narrative, and the fold-out sheets takes these points into a real world context.

Name Jean Vatchara


60

Postgraduate Diploma Design for Visual Communication

How can information design be employed to organise production data in a way that is of most use to the inexperienced designer?

My project’s main objective is to present information about selected printing companies in London in a clear and comprehensive way by using information design. There are 1074 printing companies based in London. This guide features 14 of them. The companies were selected through recommendations from experienced graphic designers and studios, which then rated them according to different criteria. The aim of the guide is to make the production process for young designers or students less stressful, more accessible, quicker and easier.

Name Malgorzata Walec


61

Postgraduate Diploma Design for Visual Communication

How can graphic design be used as a tool to popularise the concepts of psychogeography among wider audience?

Web cargocollective.com/dorota_z

Telephone 07902090011

The project is an attempt to create an object – presumably an element of a larger campaign – popularising the concepts of psychogeogaphy and urban exploration. Though structured around a number of locations in London, the book is not a conventional guide, but a collection of ideas aiming to inspire eagerness to explore, discover, and thus build a more conscious relationship with the urban environment. It has been divided into sections dedicated to various methods of exploration, illustrated with some of the visual experiments undertaken during my research. The ‘book of ideas’ is meant to serve as a form of designed notebook, its intentional plainness leaving space for user’s customisation.

Email dorota.zurek@gmail.com

Name Dorota Zurek


62


The students on the Post Graduate Design for Visual Communication Diploma and Certificate , 2012, would like to thank Tony Pritchard, the course leader, for all of his support, guidance, inspiration and good humour. His dedication to these courses and the work the students on them produce, as well as his incredible knowledge of, and infectious enthusiasm for, the field of design, have made what has, at times, been a challenging year, enormously enjoyable and rewarding. We would also like to thank our tutors, Ben Richards and Susannah Rees, for all of their teaching and advice as well as the many hours they and Tony have spent working through piles of marking at hand -in times. The positivity, dedication and passion of the staff on these courses has made all the difference to the students’ experience of them and the quality of the work they produce. Many of the projects in this show could not have been completed without the skills, expertise, knowledge and seemly unending patience of the technical staff at LCC. The students would particularly like to thank John Himbury, Jim McBride and Sam Kendall in the print room. Their advice on production and unflappable approach to almost any print-related problem have been invaluable and much appreciated. We would also like to thank Scott House and Tony Yard in the print finishing room. It is their technical skill, positivity and willingness to go the extra mile that has made it possible to realise the intentions of much of the work here today. Their guidance and advice as well as the unique facility they provide, have also allowed students to further their own knowledge and skills and enabled them to develop the scope of their projects across the year. Students on these courses have also benefited from the knowledge and expertise of technical staff in the photography studios, print making and letterpress rooms, 3D workshop, book arts and surface departments as well as the wider LCC facilities.

Cover Design Daniel Shannon Catalogue Design Pete Carr Production Tom Hornby Lizzie Toole Philippa Thomas Henrietta Ross

Typeface: 10/12 TSTAR PRO Regular & Bold

Lccpgdesign.com

Paper stock: newsprint 52 gsm

63

Exhibition Organisation Matthew Conrad Susanna Foppoli Carolina Magro Siobhan Hickey Adriana Brioso Ana Melo



2012 Pg DVC course publication