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Postgraduate Certificate and Postgraduate Diploma Design for Visual Communication 2015

The course begins with an analysis of type classification and typographic hierarchy. The top left example is by Tamari Chabukiani and top right by Carolina Scarpetta.

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Found Alphabet Carolina Scarpetta

2015 PgDip Design for Visual Communication London College of Communication University of the Arts London

Introduction The Postgraduate Certificate and Diploma Design for Visual Communication (DVC) course resides within the School of Design at London College of Communication (LCC), led by Professor Lawrence Zeegen. The DVC experience isn’t just a one-off year to gain an education and qualification within visual communication; it’s an opportunity to join an ongoing continuum of practitioners from diverse cultural and academic backgrounds. The course began primarily to help people convert career or step up to Master’s level study. Since its inception in 2004 it has embraced the notion of graphicacy alongside numeracy and literacy as a key component of human communication. Participants on the course also include those who wish

to incorporate visual communication into their own subject discipline and profession. The multi-disciplinary skills of the course’s mature graduates make them an attractive offer to design education as well as the profession. Many graduates are returning to university to teach at undergraduate and postgraduate level. High profile agencies such as Browns, Bloomsbury, GraphicDesign& and Unit Editions have often come direct to the course for recommendations and have employed more than one graduate. As well as presenting the 2015 graduating cohort, this publication revisits alumnae and alumni of the course and catches up with what they have been achieving since their time at LCC. This introduction is then completed with reflections from Lecturers Benedict Richards, Kam Rehal and new Henrietta Ross.


Margot Lombaert After completing the Design for Visual Communication Postgraduate Diploma, Margot gained experience in the field of environmental graphic design working at Nick Bell Design. She participated on different projects including the signage of the Sanger Shared Facilities at the Wellcome Trust and the refurbishment of the World War I Gallery at the Imperial War Museum. These experiences gave her more confidence to start her own practice and specialise in the field of exhibition design. Prior to starting a long-term collaboration with interior design studio Plaid, she independently designed an exhibition on Wars in the 20th Century for a library in France. With Plaid Studio, she has led on the graphic design component of major exhibitions for the Southbank Centre (Adopting Britain) and the British Library (West Africa: Word, Symbol, Song) and is currently working on the renovation of a permanent gallery at the Museum of London Docklands. Recently Margot has started to share her insights on design at Kingston University where she is a visiting tutor for the MA Communication Design course.

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Susanna Foppoli With a background in philosophy, Susanna graduated from the Postgraduate Certificate Design for Visual Communication course in 2012. She is currently a designer at Browns, working on a range of corporate and cultural projects. These include Browns Editions’ exhibition displays and project rooms at the New York and Los Angeles Art Book Fairs and the publishing house’s upcoming art book. Since 2014, she is also member of Systems, which consists of a series of investigations into the legacy and present possibilities of modernist design. Recent projects include the curation and design of Play, an exhibition of modernist toys drawn from the personal archives of their designers: Roger Limbrick, Patrick Rylands, Fredun Shapur and Ken Garland.

Ashley Williamson Ashley came onto the course with a love of words. He was trained as an actor and had achieved success on stage and screen with parts in Harry Brown, Firewood and Above Suspicion. He was even the face of Irn Bru’s Phenomenal Summer campaign in 2011. An actor’s life isn’t necessarily a rich one and Ash began work at LCC in administration. The college supported his application to study on the course alongside his job. Ashley is now the graphic designer for the LCC Communications Team. Recent projects have included exhibition, print and digital work for London Design Festival’s +160 show, Edit 01 for D&AD, the LCC Summer Shows, the upcoming postgraduate shows and the Stak exhibition in September 2015.

This page Image: Margot Lombaert. Adopting Britain exhibition entrance at Southbank Centre. Photography by Leon Chew, courtesy of Plaid (plaid-london.com) Opposite page Image: Sarah Schrauwen. Abstract Vaudeville: The Work of Rose English


Sarah Schrauwen After graduation at the end of 2011, Sarah interned at Studio8 for three months, working mostly on editorial projects, such as Shop magazine. Her next stop was as editorial and design intern at the design studio Spin and in-house publisher Unit Editions. Being part of the small team, she was able to learn about and work in different areas of publishing: research; content creation; (sub) editing; design; photography; social media and press relations; production; and distribution. This is where she realised that combining her two passions and skill sets (language and design) is what she wanted to do. In the summer of 2014 she moved back to Antwerp, where she established her own studio as a multidisciplinary designer, editor and photographer. Her subsequent design work has included the following publications: Abstract Vaudeville (The Work of Rose English); Kitchen Lab published in Dutch by Stichting Kunstboek; and Greenterior (by Belgian creative duo Coffeeklatch) published by Luster. Sarah is currently working on the design of books for Laurence King Publishing and GraphicDesign&.

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Linne Jenkin After finishing the course in 2012, Linne undertook freelance work before being offered ‘the incredible opportunity to work with Tony Brook, Adrian Shaughnessy, and the team at Unit Editions as an editorial coordinator and designer’. During her time at Unit Editions, she worked in close collaboration with Tony, Adrian and the designers at Spin on all aspects of the organisations titles, from researching and writing to photography and design. Two of the more memorable projects for her were ‘Lance Wyman: the Monograph’, the first book to be published on the iconic designer and ‘Spin 360°’, ‘a beautiful tome covering every aspect of Spin’s diverse body of work’.

Daniel Shannon Daniel Shannon, graduated from the course in 2012 and has since worked as a designer at SEA, Bibliothèque, and Graphic Thought Facility amongst other agencies. He is currently working on projects with Nick Bell, as well as designing an exhibition for Wallpaper Magazine. Daniel has also returned to teach at the LCC and recently ran a typography workshop for BA students. Piero Zagami Piero Zagami is a graphic designer with a background in politics and communication and a passion for data visualization. He has spent the last four years working with the Information is Beautiful Studio producing compelling visualization with complex datasets. His journey as a designer started in 2007 when he studied the basics of design with the DVC course at LCC, followed by an MA with a major project on inforgraphics and political subjects. His design practice has brought him collaborations with magazines such as Fortune 500 and The New York Sunday Times. In 2015 he cofounded Data Rave, an event that brings London based information designers together to share thoughts ideas and beer.


Cat Drew For Cat, getting a distinction in her Postgraduate Certificate was the thing that decisively turned her career from being a policymaker to a policydesigner. Since finishing, she has started to work for two Government units promoting innovation in how policy is made: Policy Lab and Data Science. Policy Lab applies design methodology (understanding the user, codesigning solutions and prototyping) to challenging social problems like supporting victims of crime or supporting people to manage their health conditions and not fall onto benefits. Cat is particularly interested in visual tools and has created and commissioned information graphics to communicate evidence in a way that will inspire ideas. Through her continued studies at MA level she has also learnt emerging practices – such as speculative design – and brought them into Government for the first time ever. Her work with data science – which includes the power of data visualization to spot patterns and understand the world – focuses on the ethics of how Government should work with the increasing amount of data we all have to offer.

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Valentina D’Efilippo Since graduating from the course in 2006 Valentina has made a name for herself in the field of data visualization. Her success in this field culminated with the Harper Collins publication of The Infographic History of the World co-authored with The Guardian journalist James Ball. The Economist called the book ‘a delight’. Valentina currently leads The Guardian’s masterclass in infographic storytelling. Her other clients have included Ministry of Sound, Donmar Warehouse, Sunday Times and National Trust. She has won many awards individually and within teams at design agencies such as Imagination. One of her most notable pieces is an independent project called Poppy Field, ‘a reflection on human life lost in war…[which] visualises the timing, involvement and death totals for individual wars since 1900’.

This page Image: Valentina D’Efilippo. Poppy Field. Opposite page Left image: A spread from Fiona Gather-Stammel’s Visual Summary of her Unit 1 Research and Development. Right Image: A composition by Bhavana Deepak Aggarwal that exploits the visual language of circles and colour.


Kam Rehal and the exhibition experience Kam Rehal has recently joined the DVC course team as an Associate Lecturer. Kam was himself a student on the course in 2007 and subsequently completed his MA Graphic Design at LCC. Since graduating, he has predominantly worked as an environmental graphic designer for national and international exhibitions. His recent work for the Imperial War Museums included an exhibition of works by key First World War artists; a publication to coincide with Peter Kennard’s retrospective exhibition ‘unofficial war artist’, designed in direct collaboration with the artist; and an exhibition exploring street fashion in 1940s wartime Britain. Kam has recently taken the position of Graphic Design Manager at the Natural History Museum.

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Lecturer Henrietta Ross and the journey back to DVC Henrietta reports that returning to teach on the course this Autumn has been an enjoyable and insightful culmination’ of the work she has done since starting on the Postgraduate Diploma herself in 2012. Henrietta progressed onto the MA in Contemporary Typographic Media run by Paul McNeil of MuirMcNeil. Drawing on her BA in Social and Cultural Studies, she investigated the social role of design and the application of design thinking strategies within her major project. In professional practice she has worked for the think tank Demos, visualizing the results of their research on poverty in the UK. Working with the consultancy Advocacy International, she designed materials to support the development of maternal and newborn survival in six countries within Africa. Alongside her teaching role she currently works for Soapbox, a studio which specialises in design for policy, research and advocacy organisations. In this role she draws on the principles she learnt, and now teaches, on the DVC course. Her professional design work supports the learning of the students. Henrietta believes this helps them become informed, experienced and confident design professionals.

Associate Lecturer Benedict Richards and Graphicacy Benedict Richards has taught on the Postgraduate Certificate and Diploma courses for the past five years. Alongside this part-time teaching he runs his own practice called ‘Graphicacy’. ‘Graphicacy’ is a term used for the neglected sibling of literacy, numeracy and oracy. Humans are reasonably adept at learning and using the latter three but ‘graphicacy’, despite it’s vital important in our ultra-visual society, usually takes fourth place. The remit of Graphicacy, the company, is to make a client’s information clear, coherent and attractive. This is achieved through considered use of colour, space, hierarchy and typography. These are some of the design principles to which the Design for Visual Communication courses are committed to. The last two years have seen him employing students directly from the course – either for one-off projects or for continuing freelance work. His clients tend to be charities, small businesses and small publishers. In 2014 he instigated his typographic crossword, which continues in its second year.


The course commences with five workshops covering type classification; typographic hierarchy; visual language and grammar; colour; and culminating with information design. The example shown here is a typology of manhole covers by Yael Tur-Shalom.

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FIRE HYDRANT Function: Water supply for London Fire brigade Make: Thomas Dudley Ltd. 1920 Location: Footfaths and Material: Cast iron Size: 500×200mm

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SEWER COVER Function: Collection of waste water Make: Stanton PLC Ltd. Location: Footfaths Material: Cast iron Size: 1000×1000mm

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COAL HOLE COVER Function: Obsolete Make: Unknown Location: Outside a front door Material: Cast iron Size: 600×600mm

Special thanks Thanks to Susannah Rees, Rob Mowbray, Mark Pawson, Geoff Haddon, David Bennett and David Daniels for their contribution to the 2015 teaching. Thank you also to David Sims for his fervent support of the aims of the course. Tony Pritchard Course Leader, Postgraduate Certificate and Diploma Design for Visual Communication

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STORM WATER DRAIN Function: Carry runoff from street Make: Saint-Gobain PAM UK Location: Road, edge of kerb Material: Cast iron Size: 500×400mm

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Manhole covers of Westminster

GAS FOOTPATH PLUG Function: Access to gas velve Make: Unknown Location: Footpath Material: Metal Size: 200×200mm

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WATER UTILITY COVER Function: Access to water main velve Make: Saint-Gobain PAM UK Location: Footpath Material: Cast iron Size: 400×350mm

This publication was produced at London College of Communication University of the Arts London. The layout was undertaken by Yael Tur-Shalom. The photography was by Marta Jesus, Carolina Scarpetta, Fiona Board, Sarah Carpenter and Stephanie Li. The copy editing was performed by Hannah Bailey and Alexandra Marcus. The printing and finishing was done by Scott House and Tony Yard. The cover was produced in letterpress by Clare Turner and Carolina Scarpetta with the help of Alexander Cooper and Christian Grandos. Overall co-ordination was provided by Julia Blom and Marta Jesus.

London College of Communication (LCC) is a pioneering world leader in design and media education. The College works at the cutting edge of new thinking and developments to prepare students for successful careers in the creative industries of the future. London College of Communication. Elephant & Castle, London SE1 6SB arts.ac.uk/lcc communications@lcc.arts.ac.uk @LCCLondon #LCCPostgrad


Postgraduate Certificate Design for Visual Communication

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Emily Blandford 07745 094456 hello@emilyblandford.com cargocollective.com/emilyblandford

Postgraduate Certificate Design for Visual Communication 8

Project Title Is Information Beautiful?

My project explores three data visualisation case studies, chosen to represent different kinds of potential issues with data visualisation, and to explore necessary compromises in information design. I looked into whether the data these graphics are based on was credible and comprehensive, whether they effectively tell the story they set out to, and whether they could tell this more effectively or with a different arrangement. I proposed a few redesigns to highlight design decisions which have been made and some ways in which the visual design shapes the viewer’s interpretation of the information.


Julia Blom 07531 220153 julia.m.blom@gmail.com cargocollective.com/juliablom

Postgraduate Certificate Design for Visual Communication 9

Project Title Typography is Language

When you see text in a language you don’t speak, you look more closely at the shapes of the letters as you don’t read the words. I am interested in typography and language and for this project I explored how letterforms and the choice of typeface have an influence on understanding what is communicated. I created a series of posters and a book by using the special characters of five different languages within the letterpress and book arts facilities at LCC.


Fiona Board 07581 875584 fiona.board@googlemail.com cargocollective.com/fionaboard

Postgraduate Certificate Design for Visual Communication 10

Project Title KBS Visual Identity

My project is a visual identity exploration; it aims to create a unique, modern brand for a gas heating company in order to improve their business. The picture mark is based on a technical drawing of a screw specific to gas heating. The typographic mark uses Gill Sans, which is an elegant and simple typeface, and therefore helps to balance the highly detailed pictorial mark. The colour palette for the brand has been chosen in order to heighten the soft gold tones of the screw. The trademark has been applied to various items including company vehicles, uniforms and stationery.


Dami Bruce-Otafuwa 07956 373870 d.bruce.otafuwa219@gmail.com www.damibruceot.co.uk

Postgraduate Certificate Design for Visual Communication 11

Project Title Regeneration of Estates

This project explores the regeneration of Stratford in East London. The development in Stratford has no doubt been expedited by the impact of the 2012 Olympics, and this project will focus on the changes which have taken place in the area from the beginning, today’s Stratford and particularly Carpenters Estate. East London has seen the most dramatic transformation since the arrival of the new postcode E20. The change has focused on advertising, which has been targeting young professionals for relocation and work purposes. However the redevelopment has not been as beneficial to the local residents, who feel isolated in their own community.


The shape above is called an Enneper introduced by Alfred Enneper 1864. Free admission Monday–Friday 9:30–18:00 See website for further details: www.imperial.ac.uk/blythcentre Blyth Art Centre Imperial College London Level 5, Sherfield Building South Kensington Campus London SW7 2AZ

BEAUTIFUL MATHEMATICS

Claudia Cannon 07584 296972 claudia.cannon21@gmail.com cargocollective.com/ claudiacannondesign

Postgraduate Certificate Design for Visual Communication 12

An exhibition of minimal surfaces 07 October–06 November 2015

Project Title Beautiful Mathematics

Imagine two large rings; dip them into soapy liquid and pull them apart so that a soap film forms. The shape of this film is a Catenoid, one of the first minimal surfaces to be discovered. Now many more minimal surfaces are known to exist; they are a fascinating, complex and beautiful exploration into the shape of our universe. I’ve designed a series of collectable posters and leaflets promoting an exhibition of minimal surfaces entitled ‘Beautiful Mathematics’. Each poster presents a different shape; Helicoid, Henneberg, Costa and Enneper. Collect all six leaflets in each set and the whole shape becomes visible on the back.


Sarah Carpenter 07889 180615 sarah.carpenter@ymail.com cargocollective.com/SarahCarpenter

Postgraduate Certificate Design for Visual Communication 13

Project Title Make or Break City Life Patterns

This project explores the ideas of order, routine, rhythm, repetition, patterns and chaos within people’s lives, using the city as a metaphor. Chaos is not normally a favourable state of affairs and to have a structure in your life is viewed positively. However, once you become reliant upon this and create nothing but repetition and patterns, it can become unhealthy. It is easy to view structure in the city very negatively, but there is still beauty to be found. This publication aims to capture this, through photography, design and pattern making, proving that it is never too late to change rhythm and make new patterns.


Andrew Davidson 07813 069739 andyjamesdavidson@gmail.com cargocollective.com/ andrewdavidson

Postgraduate Certificate Design for Visual Communication 14

Project Title Tonal Visual Identity

tonal The focus of my professional contexts project has been to design a visual identity for a record label. The name for the label is Tonal. The aim of the project has been to create a name, logo, and a general look for LP sleeves, cassette covers, merchandise and digital material. My intention was to come up with a basic design, which could be reused by implementing variations in text, colour schemes and images. As a result, all the releases are recognisable and cohesive with the theme of the label.


Flavia De Marco 07746 180311 demarco.f@hotmail.com

Postgraduate Certificate Design for Visual Communication 15

Project Title Looking Up

The publication is based on Sir Giles Gilbert Scott masterpiece, later on redesigned by Herzog & de Meuron. The ex-power station sits on Bankside and was transformed into an art gallery named TATE Modern. The millennial project makes use of the grid through its extents and this work intends to explore the design strategies behind the built volume in accordance to a series of horizontal and vertical lines applied to structure content, in the use of bricks, windows and the box, as well as the work of art housed in its interior, becoming an epitome of modernism as well as a London landmark.


Olena Donchenko 07854 544858 donchenko.elena@yahoo.com www.elenadonchenko.com

Postgraduate Certificate Design for Visual Communication 16

Project Title Light 2016

For my final project I chose to make a video for light2015.org. 2015 is the International Year of Light, and many events continue into 2016. I was very inspired by the information published on light2015.org and tried to cover as much of it as I could in my movie, with my own graphics and concepts. The production of the movie was an exciting and challenging time, and I am glad I could express what I wanted to express. I think my movie is a success, and I am looking forward to viewing it on light2015.org.


Laura Fogar 07935 879518 laura.fogar@gmail.com

Postgraduate Certificate Design for Visual Communication 17

Project Title Manuka: The Habit of Pain

For my Professional Project I created a publication and the invitations for a photography exhibition titled ‘The Habit of Pain’. My aim was to create a design that was in line with the atmosphere and the narrative of the artworks. The strong contrast between light and darkness emerging from the pictures has been my main inspiration. The logo Manuka and the cover of the catalogue both play with the contrast of black and white and type weight. My intention was to keep the design clean yet sophisticated and to enrich the catalogue with special pages in order to keep the reader intrigued by the design and emotionally involved with the images.


Paola Guardiani 07527 071305 paola.guardiani1986@gmail.com

Postgraduate Certificate Design for Visual Communication 18

Project Title Buskers Festival London 2016

This project consists of a brand new visual identity exploration for a hypothetical buskers and performing arts festival in London. Street artists are a vital part of any metropolitan cultural and artistic environment, and I felt they needed to be represented in a more modern, fun and successful way. The visual identity itself is quite classic and the typography is kept simple in order to balance the coloured and elaborated graphic illustrations, which appear on the booklet, posters and possible flyers of the events. The posters for the two-day event in July have been screen-printed with two different graphics to give a more real feeling. They come in a bright colour palette to invite attention and to fit the philosophy of the festival: a mix of passion and enthusiasm for music and arts.


Alice Haworth-Booth alicehb@gmail.com 07854 928926 alicehaworthbooth.com

Postgraduate Certificate Design for Visual Communication 19

Project Title Hole in the Gate

More and more of London is being put under lock and key, with the growing privatisation of public space threatening our rights to live in the city, to enjoy its open spaces, to exercise our rights to protest and to use the capital as citizens, rather than consumers. Gates and fences tell the story of how we see ourselves in the city, living separately but together. They’re put up to protect people and property, but are permeable: welcoming to some, exclusionary to others. This publication explores how the city’s gates and fences can be our invitation to step through to another London.


Danielle Jones 07710 138608 daniellejones@live.co.uk cargocollective.com/jonesmakes

Postgraduate Certificate Design for Visual Communication 20

Project Title Windows on the City

Each week for the past year, I have travelled the exact same route from my home in Hertfordshire to the London College of Communication. Although I’ve taken the same journey repeatedly I always feel like an outsider to the city, never really stopping to look at the structures I travel through. For this publication I decided to start paying attention. Using the window frame as a device to help me focus in on particular areas I encounter on my journey, I have created line drawings, collated snippets of poetry and overheard conversations as well as researching into the roots of each area.


Egle Laugalyte 07554 35248 judith.e.lau@gmail.com http://cargocollective.com/ formaventure

Postgraduate Certificate Design for Visual Communication 21

Project Title Track 24: Visual Identity and Moving Image

A moving image was created as a part of a conceptual visual identity project for the satellite tracking company ‘Track24’. The custom typeface of the logotype was developed from a 90’s font inspired by lettering used on Pontiac cars. Preserving the stark, scientific feeling and disconnected strokes, I designed the letters to be extremely thin, giving the logo a minimal and high tech look. Combining dots, lines and circles, the letters are revealed in motion. The aim was to create energetic and dynamic film, which gives the impression of a tracking and pulsating signal. The final composition is an abstract minimalistic motion graphic, which reflects the movement of tracking and gives a feeling of space.


Eat local lamb. You’ll like it.

Fletcher’s Flock Stephanie Li 07900 782111 stephanee.li@gmail.com cargocollective.com/stephanieli

Postgraduate Certificate Design for Visual Communication 22

Project Title Fletcher’s Flock

This project is about how a local shepherd can persuade people who live in East Sussex to buy locally produced grass-fed lamb. Through my interest in branding, information design and typography I produced promotional print material for a local shepherd who sells direct to customers. Fletcher’s Flock only had a simple website and a tea towel to sell itself. So this was an opportunity for me to create more than a commercial identity; I wanted to create printed material with an engaging voice that not only sold the Fletcher’s Flock brand, but could do better and change consumer’s attitudes and buying behaviour.


Victoria Low 07816 145518 v.m.low1@gmail.com http://cargocollective.com/ VictoriaLow

Postgraduate Certificate Design for Visual Communication 23

Project Title The Anthology of Irish Whiskey.

The Irish whiskey industry is currently experiencing a renaissance. That is to say in 2012 there were four operating distilleries in Ireland, in 2015 that number has more than doubled. Craft distilleries are on the rise and the Irish Whiskey export market is growing exponentially. I work in an Irish Bar that boasts one of the largest Irish whiskey ranges in London, and I wanted to create a publication that showcases that range. To be used by bartenders and customers alike, each whiskey has its own watercolour painting along with ageing information tasting notes and colour profiles. Each whiskey has been reviewed by bartenders and each review is immortalised in whimsical handwritten text. The book is Coptic bound with cloth cover boards and gold embossed text.


Gianluigi Morisco Glg.morisco@gmail.com

Postgraduate Certificate Design for Visual Communication 24

Project Title Reflections on a Grid

This project is about windows, seen both as the grid on the faรงade of a building and as a conveyor of light. I used the photographic medium as it seemed the most appropriate to capture the light element, and all the photos in the publication are the result of my trips through London with a DSLR camera. The publication does not necessarily achieve any sort of conclusion on the theme; rather, it is a collection of observations and (of course!) reflections on an architectural feature that we normally just look through.


Taiwo Otaiku 07837 564031 taiwootaiku@hotmail.co.uk

Postgraduate Certificate Design for Visual Communication 25

Project Title Rich Door Poor Door

Apartment blocks which use ‘rich doors’ and ‘poor doors’ to segregate tenants based on wealth have been hitting the headlines recently on both sides of the Atlantic. This publication was designed to show the difference between the doors and draw light to the socioeconomic issue that is segregating London’s inner city dwellers. I used examples of apartment blocks within London, which have used poor doors. The main emphasis of the design to is to reveal how on the surface, everything can looks quite normally but if you peer deeper than you find something more ominous. The construction of the three-page spread is designed to do this.


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Melissa Ulloa 07994 4708447 melissaulloa@hotmail.com

Postgraduate Certificate Design for Visual Communication 26

Project Title The Neon Violets: A Visual Identity

The Neon Violets is a heavy psych rock band based in Oxford. They were looking to create a visual identity in time for the release of their first record in the summer 2016. Taking influence from the psychedelic artwork of the sixties but with a contemporary look, I designed a visual identity that could work well across a number of platforms. I created strong colour compositions and a flexible logo that is readily adaptable to be used in both digital and print material, as well as record sleeve artwork and visuals for the band’s live performances.


Aleksandra Sekulovic 07960 062107 aleksseku@gmail.com

Postgraduate Certificate Design for Visual Communication 27

Project Title Reflections

Extracts from architect Bernard Tschumi’s seminal essays within ‘Architecture and Disjunction’ are juxtaposed against reflected images of the city of London, allowing us to reflect upon the relevance of Tschumi’s writings in contemporary urban society. Tschumi’s essays on fragmentation in architecture were the initial starting point for my photographs, where he writes: ‘bits of walls, of rooms, of streets, of ideas are all actually one sees.’ I found this particularly relevant when walking among the looming glass towers of the city. Our movement in space, and the intensity of our relationship with architecture is given greater importance over form and function.


Andrea Stoppa 07817 930414 aestopa@gmail.com cargocollective.com/andreastoppa

Postgraduate Certificate Design for Visual Communication 28

Project Title I am in London, Now What?

This project is comprised of a series of 2D motion graphics using simple illustrations and typography. The idea is to post these animations in social media as a way to advertise a website directed to Brazilian people planning to spend their holidays in London with quick sketches showing tips on how to get the most out of this experience. For example, the first motion graphic of the series illustrates how to use a London double-decker bus for the first time, giving tips about routes, oyster cards and other travel options. Although there are several variations, the opening sequence is the same for all the animations.Â


Helen Taranowski 07917 410326 hello@helentaranowski.com www.helentaranowski.com

Postgraduate Certificate Design for Visual Communication 29

Project Title Your Body, Your Rules

The final outcome for this project, a set of posters, flyers and an animated GIF for a conference on body positivity, evolved from my wish to promote body diversity to women and to fight back against the beauty ‘ideal’ promoted in the media. Using fragments of cuttings from fashion and beauty magazines, I created my own collages to form the background of the posters which are emblazoned with the tag line ‘your body, your rules’ using eye-catching yellow text for the words ‘your rules’. The collages are each designed to communicate the particular subject of each event, while being ambiguous enough to challenge the viewer’s preconceptions and raise interest in the event.


Alice Tobia 07910 962609 helloalicetobia@gmail.com cargocollective.com/alicetobia

Postgraduate Certificate Design for Visual Communication 30

Project Title The Trembling Lady

From pretty early on in the decision making process I knew I wanted to make my Structure in the City project on the bridges of London. However, finding an individual bridge to focus on was difficult. I walked along the Thames in search of “the bridge� a fair few times before I found Albert Bridge. Albert Bridge looks like no other I have seen; it has an obvious and charming personality (as much of a personality as a structure can have). My aim is to shine a light on this often overlooked bridge, detailing its history and all its little quirks.


Clare Turner clare@clareturner.co.uk clareturner.co.uk cargocollective.com/ClaresCargo

Postgraduate Certificate Design for Visual Communication 31

Project Title PoMo Publishing Company

For my final project I created the visual branding for an academic publishing company that publishes mid-length academic works on subjects, cultural theory and philosophy, ideal for getting cutting edge theory to a wider audience quickly to bridge the gap between shorter journal articles and longer monographs that can take up to a year to get to publication. A design that easily translates from print to e-book means a strong brand identity is maintained. The innovative vertical text challenges traditional publishing conventions to embody the forward thinking theories within the books themselves.


Postgraduate Diploma Design for Visual Communication

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Devi Dianty Aretta 07838202152 dantyaretta@gmail.com behance.com/dantyaretta

Postgraduate Diploma Design for Visual Communication 33

Research Question How can graphic design promote the interactive nature of using the postal service to remain in contact with friends whilst abroad?

Postal Special Service (PSS), the name of this project, is a brand that promotes the use of the postal service, specifically handwritten greetings. The tangibility and value of postcards and letters can never be replaced by the texts and emails we now receive via smartphone devices. The positioning of PSS in the market is to become the first ‘interactive’ postal kit to spread via social media. It combines both conventional and digital methods. PSS allow users to personalize the postal kit with techniques such as colouring and doodling, so that each letter, paper and stamps is unique. Participants can upload and tag entries #itsPSS on Instagram to continue the ongoing dialogue.


Hannah Bailey 07940 716006 hannahjbailey@yahoo.co.uk www.hannahbaileydesign.com

Postgraduate Diploma Design for Visual Communication 34

Research Question How can poster design raise awareness of the housing crisis among young Londoners?

Research shows people under 25 are generally more left-wing but are much less likely to vote. In the wake of this year’s General Election, those on the left were reeling from unexpected defeat. I wanted to look at how to encourage young people to engage with politics in order to help reverse this trend. I created a simple advertising campaign which subverted familiar signs from our streets, to show how young people are excluded from the personal independence which comes from being able to afford or rent their own home, as a way of highlighting the differences in policy between right and left-wing parties.


Maria Christina Bellou 07341 576257 cargocollective.com/mcbellosw

Postgraduate Diploma Design for Visual Communication 35

Research Question How can a printed travel guide promote alternative tourism on the island of Crete so as to boost business and improve the experience of the island for visitors?

Crete is the biggest island in Greece and offers an array of exciting and intriguing possibilities to tourists. With this alternative travel guide and a selection of prints and posters, I am aiming to promote carefully selected smaller, local businesses that offer authentic services or goods. This Cretan travel guide can help tourists navigate on the island through a unique journey, allowing them to have a fun, active and authentic experience. In the guide, I highlight the hidden places, beaches, annual music festivals and amazing nature trails that are not currently promoted to tourists in an organised way. Through the use of illustration and colourful, simple but content-rich maps, I hope to engage people’s attention with a coherent and enjoyable read.


Tamari Chabukiani 07903 686814 tamarchabukiani@gmail.com

Postgraduate Diploma Design for Visual Communication 36

Research Question How can environmental graphics raise awareness about mass surveillance amongst social media consumers?

‘Unclassified’ is a series of environmental graphics inspired by the Snowden revelations regarding mass online surveillance that took place in 2013, amid a lack of visual information related to the subject of mass media surveillance. The aim of the project is to raise awareness among the users of networking websites of the amount of unnecessary online surveillance. Even though the internet is flooded with text-based information on surveillance, people tend not to pay attention to this information, due to the complexity of its presentation and the lack of visual information. Through this project I hope to engage and activate people’s interest in privacy and online surveillance, and urge them to stop over-sharing their delicate private information.


Sorrel Chandler sorrel.chandler@gmail.com sorrelchandler.com

Postgraduate Diploma Design for Visual Communication 37

Research Question How can a pop-up event aid cultural cohesion for adults in neighbourhoods of the United Kingdom?

Board games have seen a revival and we can only assume it is because they offer a more inclusive and hands on interactive element that digital games are yet to provide. For many there is also a nostalgic attachment, good or bad, to an occasion when family or friends participated together. The focal point for this project has been the bright and colourful visual language of board games. Having adapted my own designs from twelve different games from around the world, I created a fictitious popup board games event tac-tic-go. Tac-tic-go creates an opportunity for communities to come together and take part in an enjoyable and entertaining social event. The design outcome comprises five promotional posters; as well as a set of twelve postcards and a calendar which present information about each game and its origin.


Bhavana Deepak Aggarwal 07487662584 bhavna3112@gmail.com

Postgraduate Diploma Design for Visual Communication 38

Research Question How does publication design improve the experience of firsttime travellers to India?

In Sanskrit, the sacred language of India, ‘Yatra’ signifies ‘a journey’. Yatra is a series of travel guides which aims to inform and inspire the modern traveller who is interested in soaking up authentic experiences. The guides recommend a tightlyedited selection of experiences across the various cities of India as recommended by the locals, thus showing that what makes a city special are the quirky and offbeat attractions which the locals are proud to call their own. When a tourist is helped to catch a glimpse of these moments, they are able to develop memorable experiences of a country.


Christopher Eder me@christophereder.com www.christophereder.com

Postgraduate Diploma Design for Visual Communication 39

Research Question How can print-based design be used to create a guide for graduate designers as they undertake their first commercial projects after leaving university?

This project sheds light on the key secrets you aren’t taught as part of a university design education. Ten people with different backgrounds, including a former UAL graduate; a design teacher; a life coach specialising in helping unemployed academics; a photographer who collaborated with Sagmeister & Walsh; an international communication entrepreneur; an Indian Art Director; a Cooperative Education specialist; and an awardwinning New York based Creative Director share their personal experience and describe how their career paths have developed. The guide takes you behind the scenes of international campaigns, shows some very personal approaches to design and gives answers to topics that are normally not dealt with during a traditional study programme.


Leela Flint 07825 162077 ljflint@gmail.com

Postgraduate Diploma Design for Visual Communication 40

Research Question How can graphic design and illustration be used to teach children about George Orwell’s life and politics?

History is important but it can easily descend into a dull series of dates and events. In order to bring history to life for children, I created three items around one historical figure. I chose George Orwell and created a passport, a photo album and a political flyer. Together they tell the story of his life and politics, but it’s also a very human story. Children will be able to relate his story to their own experiences of school and family life.


Karine Fortier 07803 597 918 mail@karinefortier.com www.karinefortier.com

Postgraduate Diploma Design for Visual Communication 41

Research Question How can a poster campaign promote positive emotions resulting in greater creativity, innovation and effectiveness in the workplace?

Work Happy is an environmental graphic design project concerned with the visual aspects of the workplace and creating experiences that connect people to the spaces in which they work. The poster campaign is about sharing and encouraging new ideas on environmental and emotional wellbeing at work. It is also about re-imagining work space through the creation of a series of illustrations that depict topics such as movement, collaboration, innovation. The aim is to help in the understanding that the look and feel of the workplace environment is crucial and to convey a desire for changes to the general public.


Fernanda Galvão Casas 0055 11 994663424 fegcasas@gmail.com www.fernanda-casas.com

Postgraduate Diploma Design for Visual Communication 42

Research Question How can a book instigate the preservation of Brazil’s rainforest wildlife to children by developing an aesthetic appreciation?

‘Animals of the Rainforest’ is a project made to educate children about the Brazilian rain forest wildlife. Six species were carefully chosen and transformed into illustrations inside a giant concertina book. The idea was developed after I realised that preservation and ecology are subjects that still lack personality and design. My intention is to inspire children to be interested in endangered species by showing them a familiar perspective but using a different approach. The result is a book full of colours, organic shapes and curiosities, presenting the essence of Brazil’s wildlife.


Fiona Gather-Stammel 07799 466803 fiona.gatherstammel@gmail.com www.fionafranziska.com

Postgraduate Diploma Design for Visual Communication 43

Research Question How can a poster campaign engage new audiences in physical sensations?

Jason Silva has stated: ‘We are post-geographical beings, physical proximity is no longer a prerequisite for attentional proximity’. In the digital landscape of today‘s society, behaviour and perception are filtered through a flat screen. We frequently lose touch with our physical surroundings and prevent ourselves from appreciating the present. In order to bring us back to the ‘here and now’ I developed a poster campaign based on physically interactive designs, where viewers are encouraged to rely on their senses to experience the environment.


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Dodam Jeong 07838 179204 00 820 10 3058 4858 jeongdodam.90@gmail.com www.dodammm.com

Postgraduate Diploma Design for Visual Communication 44

Research Question How can typography help raise awareness of the form of the Korean language and promote its distinctiveness amongst typographic designers?

The purpose of my major project is to celebrate the originality of Hangeul (the Korean alphabet) by implementing typographic design. Typography plays a huge role in our everyday lives, as it is an essential visual medium that conveys important information, which can be just as powerful as images or photographs. My aim is to use Korean typography to inspire and encourage an interest in Hangeul even if a person cannot understand the language system itself.


Marta Jesus 07517 844386 martappjaesus@gmail.com marta-jesus.squarespace.com

Postgraduate Diploma Design for Visual Communication 45

Research Question How can editorial design explain the intentions behind the visual communication process to graphic design students?

As students, we can feel overwhelmed with all the possibilities a creative education gives us: the freedom to choose from the things we can do and an awareness of the things that have already been created can make decision-making difficult. A creative profession requires a lot of personal input from the individual, but this subjectivity makes it hard to evaluate whether an idea is on the right track. With a printed piece that puts together a series of quotes and questions, readers are encouraged to learn for themselves and understand the importance of setting about designing with the ‘right’ mindset. I used direct quotes from those in the world of business, designers, actors, comedians, psychologists, physicians, musician and poets to create a book of messages which aim to inspire rather than persuade, to guide rather than instruct.


Gyury Lee gyury1345@naver.com

Postgraduate Diploma Design for Visual Communication 46

Research Question How can tourists be introduced to the diverse foods available in London through the design of a subjectspecific map?

My objective for this project was to tackle the notorious stereotyping of cultural foods in London. As a designer, I answered the question by making a series of maps as a final outcome. These maps explore six areas: five are particularly well known for one special type of cuisine (e.g. Chinese in Chinatown or Vietnamese in Hoxton). The sixth area is Soho, which has a wide range of foods from almost every country. The style of maps is simplified so as to help tourists new to London easily understand the information. The maps also include illustrations introducing unusual foreign foods at street level.


Fuzhen Li 07478 688250

Postgraduate Diploma Design for Visual Communication 47

Research Question How can interactive design assist family members and caregivers to better appreciate the experience of blind people in daily life?

My beloved grandma lost her sight almost three years before her death. I lived with her for twenty years and therefore appreciated her difficulties. Still missing her, I chose to develop the theme for this project around care for such vulnerable groups. I wanted to devise a tactile interaction for sighted people to help them develop an increased sensitivity for the visually impaired. In this way, fully sighted people can gain an understanding of the day-to-day inconveniences of a blind person’s life.


Yameng Liu liuyamengual@gmail.com

Postgraduate Diploma Design for Visual Communication 48

Research Question How can a physical interactive experience encourage communication between students?

This board game is designed to help increase communication and engagement among students from various cultures. At the start of a new term, it is difficult for some international students to achieve meaningful communication with other students due to differences in background, culture and language. For example, some Asian students may experience difficulty integrating into western cultures. The goal of this board game is to help students find common interests with one another, and therefore promoting more meaningful communication between fellow students.


Alexandra Marcus alexhmarcus@gmail.com cargocollective.com/ AlexandraMarcus

Postgraduate Diploma Design for Visual Communication 49

Research Question How can an editorial design piece help emerging artists and designers cultivate an effective workspace?

This project sheds light on the seemingly elusive lives of creative professionals, giving emerging artists and designers the insight to build their own functional workspace. The design outcome is a publication based on interviews and photographic documentation of studio spaces, offering an intimate look into the daily working habits and idiosyncrasies of creative minds. From graphic designers, to painters, to photographers, to printmakers, each one provides a unique perspective on how they have customised their space to fit their lifestyle. It is often the subtleties that can transform the character of a space, whether it be a bustling design studio or a quiet, paintsplattered alcove in an old house.


Nisha Mehta nismehta@gmail.com cargocollective.com/nishamehta

Postgraduate Diploma Design for Visual Communication 50

Research Question How can digital media promote Indian folk dance to a younger audience?

The aim of this project is to encourage an interest in Indian folk dance amongst a younger audience using gamification. The Folk Dance Experience concept is designed to be part of a well-known art festival in Mumbai, India. It is an interactive experience which lets visitors perform (virtually) over 12 mystical folk dances from India’s hinterland. With the choice of dance styles, costumes and music, this application not only introduces participants to India’s rich folk culture diaspora, but also allows them to share this truly enriching experience with other online with just one click – encouraging sharing amongst the target audience.


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Jelisaveta Milojevic jelisavetamilojevic@yahoo.com cargocollective.com/ jelisavetamilojevicportfolio/

Postgraduate Diploma Design for Visual Communication 51

Research Question How can environmental graphic design help improve the learning experience for school children at the international primary school department of ‘Plavi Krug’?

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My major project is about developing common language skills and creating a better signage system at the international primary school department of ‘Plavi Krug’ (or ‘Blue Circle’: an organisation in Belgrade, Serbia, which exists to fight against the disease of diabetes), in order to help ease communication difficulties for international students. My final outcome is focused on the design of door ‘labels’ to help navigation whilst encouraging children to explore their environment, enjoy school and concentrate on learning while having fun. I was also aiming to create visual unity spaces within the international department. My door designs are created from illustrations of every-day objects which can be found in primary school spaces.


Olga Poplavskaya 0044 7490 431830 zherdzh@gmail.com cargocollective.com/ olgapoplavskaya

Postgraduate Diploma Design for Visual Communication 52

Research Question How can graphic design increase the interest of young people in starting to garden?

This project is not about how to learn to garden properly: what, when and how. Rather, it is a fascinating journey into the world of gardening that helps users discover plants and make experiments growing them. I chose to use poster and book design to create my final outcome, as these design fields were also used in the recent past when there was no Internet as a means of advertising to encourage people to grow plants. My idea was to show that printed materials can still compete with the Internet and are able to establish a connection between the user and the product. My outcome motivates users to start thinking about growing their own green friend, depending on their preferences and lifestyle. Inside the book users can find motivational cards with various tasks for discovering gardening.


Nithivadee Punyasiri 07848 681230 pineillus@gmail.com http://cargocollective.com/pineillus

Postgraduate Diploma Design for Visual Communication 53

Research Question How can a public exhibition and associated publicity material be used to promote the traditional and cultural dress of northern Thailand hill tribes to young adults?

My aim is to raise awareness of, and create inspiration around, the tribal cultural identities of Northern Thailand hill tribes through an exhibition and associated promotional materials. In order to encourage the target audience of young adults to visit the exhibition, I have created a series of invitation packs which include paper doll templates, a story and a postcard for each visitor to write down any comments or feedback. The paper doll set is presented in an envelope with stencilled tribal illustrations on it. Visitors will be encouraged to interact with this set by using it to come up with their own costume designs. After a visitor has attended the exhibition, they can hang their designs up to be displayed for future visitors to enjoy.


Carolina Scarpetta 07943 683043 0039 3664472259 carolinascarpetta@ymail.com carolinascarpetta.com cargocollective.com/ carolinascarpetta

Postgraduate Diploma Design for Visual Communication 54

Research Question How can graphic design stimulate further interest in abstract mathematics?

My project explores the possibilities of mathematics in visual ways and tries to engage and stimulate interest for the ‘abstract mathematics’ concept for those who are unfamiliar with it. To do so, I conceived the identity for a talk about mathematics at the Barbican Centre. The identity was based on two main themes: a system of prime numbers, which uses shapes and colours to express numbers via their prime factors; and a series of drawings based on the golden proportions. The project arose from my personal interest in mathematics, which also relates to my engineering background. Through this project I experimented with various techniques and outcomes, from letterpress to embossing and from animated GIFs to video projections.


tea Nadia Shervani 0091 9811960284 07405 915004 shervani.nadia@gmail.com

Postgraduate Diploma Design for Visual Communication 55

Research Question How can an information pack help Alzheimer patients and caregivers cope with the disease in India?

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Alzheimer’s Disease (AD) is a neurological disorder in which the death of brain cells causes memory loss and cognitive decline. At the moment there are over four million patients afflicted with AD in India. In New Delhi, there is only one day care centre with the capacity to support eight patients. I created an information pack which acts as an introductory guide to alleviate the confusion and anxiety a diagnosis of Alzheimer’s could bring to the lives of patients and caregivers. It covers a basic understanding of the disease; strategies to cope with living alone; guides for caregivers on how to focus on their health and well-being; as well as effective ways to communicate with AD patients. It is designed to be small and portable so that it can be taken home for reference by both patients and caregivers.


Yuan Su y.su5@arts.ac.uk

Postgraduate Diploma Design for Visual Communication 56

Research Question How can a print-based project introduce new UAL students to the geometric patterns in traditional far eastern culture?

This project celebrates traditional cultures in the Far East, its heritage and fabric designs, with the aim of introducing a traditional art craft form to new UAL students and encouraging young designers to learn more about these dying skills.


Luna Wei Ting Sun 07701 309628 Luna.tinkyo@hotmail.com

Research Question How can publication design help impart dining etiquette to business professionals?

My project is about the art and tradition of dining and the importance of etiquette, focusing on why it’s important to be aware of this tradition. I have created a series of illustrations for each type of food showing how it should be eaten and the ‘correct’ way of eating it. For business professionals, I outline when it is a good time to discuss work, and how to handle cultural differences when it comes to dining abroad, including how much you are supposed to tip; what you can discuss during dinner; and how to use your utensils.

Postgraduate Diploma Design for Visual Communication 57

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DNA Categories of Flexible Identities Dynamic identities can also be created by supplying a toolbox containing several core ingredients. Various recipes can be created using these ingredients, resulting in a different outcome each time. Dynamic Identities, Irene van Nes

Gloria Todorova 0035 9888542686 gloriaventseslavova@gmail.com http://cargocollective.com/ gloriatodorova

Postgraduate Diploma Design for Visual Communication 58

Research Question How can publication design inform designers and their clients of the importance of flexible identity systems?

My research question looks at the innovative and progressive work within branding and identity that we see all around us. The main components of visual identity are marks like logos, colour and type. In the past few years, designers have started creating more dynamic identities, adding and using variable visual elements. A major factor for this change is the progress of technologies and their widespread application in the area of branding. The fundamental concept of visual identities remains the same, but their innovative, vivid and organic nature makes them far more interactive and engaging. Visual identities are now given the opportunity to behave and act as ‘living organisms’.


Ai Tomiki aitomiki0321@gmail.com cargocollective.com/aitomiki aitomiki.com

Postgraduate Diploma Design for Visual Communication 59

Research Question How can a poster campaign engage new audiences to an exhibition of traditional crafts at Japan House London?

Many traditional Japanese crafts are the result of people’s responses to social, economic and religious factors throughout history, and yet this richness is not represented in their current communication strategies. In this project, set in a Japanese facility in London, I aimed to explore a visual language that highlights this dynamic aspect of crafts and to distil them into a poster. The outcome is a series of posters screen-printed onto Japanese paper announcing an exhibition at the facility.


Yael Tur-Shalom 07778 300622 www.cargocollective.com/ YaelTur-Shalom

Postgraduate Diploma Design for Visual Communication 60

Research Question How can graphic design be used to promote Rongai Children Charity to young adults in the UK?

Rongai Children Charity in Kenya provides education and care to vulnerable children. This campaign project is designed to promote the charity to young adults in the UK, recruiting volunteers via talk events in three UAL colleges. Graphic design and typography are utilised in the creation of type-only posters, advertising the events in a two phase campaign. Based on the concept of the volunteer being the missing character, the posters engage the viewer with bold typographic design, inviting us to participate.


Ruoding Wang 07599 055646 deanwrding@gmail.com

Postgraduate Diploma Design for Visual Communication 61

Research Question How can publication design in the form of an alternative guide help visitors to London explore the ‘unseen’ city deeper?

As a design student from another country, I have always wanted to explore the city of London’s renowned design and art cultures. But local designers and their shops were hard to find, and I had to resort to searching the internet. In order to solve this problem, I decided to create an interactive alternative guide book to highlight cultural aspects of London which are often hard for visitors to find. I believe the process of collecting and classifying information was the most successful experiment from Unit 4; using this information, I was able to develop the structure of my guide book. Other experiments such as illustrations of the products and interviews with the tourists were used as supporting information for the project.


Ying Wang 07421226508 wangying32323232@gmail.com

Postgraduate Diploma Design for Visual Communication 62

Research Question How can moving image, delivered online, help people expand their knowledge and experience of Shoreditch in East London?

My project is about Shoreditch in east London, which is an area with lots of creativity and history. In the past, east London was perceived as an unpleasant and dangerous area, and Victorian industrialization didn’t do much to improve the area, which developed a reputation for extreme poverty, gang rule, violence and crime. After young artists moved into the area in the last century, the location took on a new reputation. Now, East London is a fast-changing and exciting locality. Lots of modern buildings are being built, with more and more people interested in working or living in the area. The aim of the project is to use moving image to introduce people to east London’s many delights.


Yu-Shan Wei 07521 697155 imissweii@gmail.com

Postgraduate Diploma Design for Visual Communication 63

Research Question How could visual communication be utilized to promote Taiwan’s Indie Music in London?

The goal of this project is to promote Taiwan’s indie music in London using visual communication strategies. I designed a unique identity for an event and explored this concept across a variety of mediums: postcards, posters, videos, tote bags, all designed to attract a different audience and encourage attendance at the event. My target audience is Londoners between 18 and 50 years old who are interested in indie music; once they are aware of the event, they can support it on the funding platform Fundrazr.


Lingfei Zhu 07746 239962 zhulingfeia@126.com

Postgraduate Diploma Design for Visual Communication 64

Research Question How can graphic design positively influence the perception of Social Anxiety Disorder (SAD)?

My project is about Social Anxiety Disorder (SAD). Social phobia has become extremely common in our daily life and is likely to affect you or someone close to you. However, most people lack proper knowledge of the disorder, while others underestimate the effects of the illness. I chose to use the ‘lenticular’, a form of 3D printing which allows different images to be viewed from different angles, to show the thoughts and feelings of people who suffer from SAD. The objective of my project was to help people to better understand the disorder by taking the perspective of those who are suffering from the condition.


Design for Visual Communication 2015  

This publication represents the work of students studying on the Postgraduate Certificate and Diploma Design for Visual Communication course...

Design for Visual Communication 2015  

This publication represents the work of students studying on the Postgraduate Certificate and Diploma Design for Visual Communication course...

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