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Postgraduate Certificate and Postgraduate Diploma Design for Visual Communication 2019

Introduction Tony Pritchard

The theme for this publication is the relationship between emergent digital technologies and physical, off‑screen, ‘analogue’ processes. This can be experienced both within the learning and professional environment through experimentation; research and development; and the final realisation of a project. Practitioners of design are facing the challenges of an exponential surge in digital technologies and how these might shape user interfaces and the experiences of multiple devices and products. Software abounds and for some commentators has become bloated full of features; defaults to turn off; and preferences to deep dive for. Virtual, augmented and mixed reality enhance our experience of the everyday. The recent ‘We Live in an Ocean of Air’ enabled an interaction within an imagined and otherwise invisible virtual world. Graduate William Humphrey alerted the course recently to his involvement with a consortium, set up by the UK government, to consider the future of immersive entertainment. He will be working with Aardman to conceive a world where you will walk into a Wallace and Gromit film rather than passively view it. Creative coding and p5.js have extended the ways in which visual expression can be created and interacted with. Instagram accounts present us daily with spatial environments brought alive with projection mapping. Participating students at London College of Communication can avail themselves of traditional hands‑on processes such as letterpress, lithography and book‑binding. Sketchbooks can be rich with the warmth of human endeavour within print and paper explorations. The digital and analogue can become intertwined, one feeding into the other and for there to be cycles of


development. These connections are now referred to as an approach called integrated design. In 2019 participants on the part‑time and full‑time Design for Visual Communication courses have engaged with exercises in visual language; typography; information design; moving image; exhibition design as well as their major project. Experimentation and realisation have integrated both digital and analogue processes. In devising an appropriate visual language or medium many approaches will be tested for their viability and impact. The main part of this publication has set a provocation to the students, to produce a response to the idea of combining existing digital and analogue work, from the year, into a new piece to express the theme of integrated design. We have approached graduates from the course who have been motivated in diverse ways to explore digital and analogue media. Whilst they may have integrated these approaches we have challenged them to present one such focus in their work and explain why. Julia Blom, Eren Butler and Sarah Carpenter introduce us to physical and tactile experiences that engage our senses in a purer sense of the known world. Ian Carr, Valentina D’Efilippo and Helin Ulas open our eyes to how new digital technologies can be forged to intensify experience and introduce new and unexpected outcomes. Our advocates reveal many contradictory perspectives and help question our expectations and assumptions of the media encountered. As digital and analogue nomads wandering through a mediated world of visual communication all of us are confronted with what it means to be human in contemporary society.

Down to judgment Ian Carr Studied 2009

Above Illusion of permanence Opposite page Right to be forgotten 2

The space between analogue and digital, to me, is full of interdisciplinary experimentation leading to a rich creative process. It allows designers to map out and explore the boundaries of our practice. This space challenges the way we look at and experience our environment through new creative methods of visual communication.

In my own practice I have used the digital space in many different approaches. From projection mapping to audio visual installations and collaborations with musicians, IÂ have used the format of the digital as an extension of the analogue. This evolution is never to create a final outcome, but with the intent to experiment, layer and further explore the visual language. The digital space requires the same judgment and visual methodologies; the digital then becomes a tool for questioning and problem solving.

Some of my most engaging projects are my self‑initiated projects. With the commercial aspect removed from the project, it can be given a different agenda, investigating the process that gives birth to it rather than being defined by it. Alongside this I’ve found that one of the most democratic audiences to be Instagram. Using this digital format as an online digital critique for testing out of new ideas and formats has encouraged me to be more liberal with my process and moved my work into new and unconsidered areas.


It has been essential for me to find and establish my practice beyond the delivery of skills for the industry. There is a danger that such a practice often sits within an echo chamber. The interdisciplinary world between analogue and digital helps me move outside of this echo chamber to creatively explore and speak to new audiences.

Although some argue this does not prepare students for the commercial world, I would dispute the opposite, it equips you with tactics to manage your role in a complex, changing and dynamic world. As creative practitioners that can make decisions that are well‑informed and contextualised in shaping human experience, and within this, the role of technology is ultimately our choice and judgment.

The narrative behind the numbers Valentina D’Efilippo Studied 2007

Above Reimagine the Game Agency: Signal Noise Client: Siemens Opposite page Atlas of Digitalization Agency: Signal Noise Client: Siemens 4

One of the characteristics of our increasingly information‑driven world is the huge amounts of data being generated about everything – in where we go, what we consume, touch, watch or hear. These real‑time streams of data are generally known as big data, and with them come some unique and revolutionary opportunities but also the grand challenge of making sense of the material they produce.

As a designer, tasked to map and represent various facets of the world we live in through data design, the increased amount of data generated demands to embrace technologies at every step in the process. Data has to be filtered, analysed for interesting trends, and then displayed in a way that humans can make sense of quickly. Technologies can help us – from data collection, to analysis to visual translation into consumable information.

However, technology is just one aspect, without a deep appreciation of contextual information and a more humanistic approach to this process we may fail to provide a holistic picture of these complex worlds. We have a responsibility to make accessible for interpretation/ decision‑making the vast potential of big (and small) data. To capture the meaning rather than relay the insights.


Even when designing digital twins, predictive analytics dashboards, apps and services based on machine learning algorithms, we need design thinking to unlock and give voice to the narrative behind the numbers – this connection is fundamental in order to be inspired to take action on the information we receive.

A new point of view Helin Ulas MISTD Studied 2017

Above Studie Dislokace III, Oliver Torr Opposite page Intergalactic loop 6

I have been quite immersed in the ‘tech’ aspects of things since I left LCC. The process of being introduced to new tools such as machine learning, VR, html, node‑based programming and so on, has opened up a new point of view for me within the field of visual communication. It also reminded me how precious it was to learn ‘hard’ skills as we did on the DVC course. I think the core skills for design, such as grid systems and gestalt, are even more important when it comes to designing for any visual communication product, from a spatial format to print.

From what I have experienced in Berlin I can see the movement to new media is relevant, but it also feels like bit of a hype train. People often disregard the key learning points and jump onto the train. What I have experienced so far has been students watching YouTube tutorials and becoming managed by the tool itself. In a way, I think the tool has become the designer and the person just the bridge.


The job I wanted to do didn’t exist, so I made my own Julia Blom Studied 2015

After working in theatre and cricket, I found myself doing a job that made me unhappy. While working on my computer for endless hours I knew there was something else I should be doing, I just didn’t know what it was yet.

So I quit that job, pursued my dreams and went back to university to study Design for Visual Communication. At LCC I discovered the smell of ink and how much I enjoyed printing my designs. It was like my heart opened when I walked into the print room for the first time. Having finally found the thing that I love doing, I knew that I was going to continue in this field.

Above Dutch Land Opposite page King of the Netherlands 8

However, after graduation I realised that the job I wanted to do didn’t exist, so I made my own. I wanted to design and print my own work, whilst not putting pressure on my prints to pay the bills. It became the start of having two jobs: one for the rent, the other for the heart. For me this set up means being independent, flexible with my time and using many skills in different tasks.


Connecting the dots can only be done backwards, and in hindsight I had always been a linguist. In letterpress I can combine my love for typography, language and its nuances. I love how what is said or written down can be very meaningful – or not at all. My prints are meant to be put on a wall as a reminder of the words you continuously want to say to someone, or yourself.

Imperfections are beautiful Eren Butler Studied 2006

Above Diagonal rainbow Opposite page Keleem tiles on concrete 10

The story of Keleem is rooted in tradition, culture and family. My husband and I were both brought up in Istanbul. As a part of our Turkish culture, there were always rugs decorating the floors of our homes. As soon as we started crawling, we were in contact with rugs, many of them heirlooms inherited from generations past.

As a graphic designer and an architect, we have always appreciated the power of design to define and transform a space. As we started rediscovering the objects which had given us so much pleasure in our professional and personal lives, our admiration for weft, warp, texture and tactility turned into a growing desire to design our own rugs. However, within the hand‑woven process, we quickly learned that no matter what’s on the drawing board, there is always something unexpected and mysterious about the end result.

The hand‑woven ‘analogue’ process of design has taught us about embracing imperfections in a digital world where alignment and composition is expected to be perfect. The lines may not be as straight and the corners may not meet at a single pixel as they do on the computer screen, but every imperfect weave tells the story of their weaver and traditions passed down from one generation to the next. Imperfections are beautiful. The analogue process teaches us that, and much more.


Deconstructing and reconstructing Sarah Carpenter Studied 2015

Above Necklace Opposite page Composition 12

As an artist and designer, I take seriously a responsibility to be mindful about what items I produce and where and how I produce them. I try to work in an ethical and sustainable way, for example, aiming for zero waste and using recycled packaging. I advocate mindful consumerism, supporting sustainable, local, independent and small businesses and am part of ‘Daughters of Industry’ a makers collective who share similar values.

My experience of mental illness informs my process which I liken to CBT: deconstructing and reconstructing in order to understand. I find mindfulness in hand‑making/analogue processes. My design process usually starts as sketches/thoughts on paper, which I translate into digital files for refining and scaling, using programmes such as Illustrator. For these wooden pieces I create dwg files for input into a laser cutter. I sand, glue and construct them by hand using traditional tools.

I am dyslexic and find language difficult. I learn kinaesthetically though ‘doing’ so it seems a natural approach to my work. The process of physically making engages multiple senses: sight, touch, smell and sound. By having a physical product, I hope to engage/communicate with people in this multisensory way, making my work more accessible.



Postgraduate Certificate Design for Visual Communication



Amanda Claudine Aspeborg +44 7455 925710


Projects included above Digital image cut out on top of a manipulated scan of laser‑cut perspex stencilled type.

Reflection The connection between the analogue and digital is crucial to the design process, as only when both are understood by the designer can they be intertwined in such a way it intrigues and surprises its audience.

Amy Bond

Postgraduate Certificate Design for Visual Communication 18

Projects included above Photograph of Jesmonite 3d letterform and a digital geometric letter.

Reflection Physically manipulating text through collage (and lots of sticky tape) has given me a real appreciation of how to construct text and images behind a flat screen. Slowing down and starting with the tactile process has taught me to allow the creative process time to ‘breathe’.

Clara Davis


Projects included above Computer-generated visual grammar experiments with letterpress.

Reflection I have come to realise the importance of both analogue and digital experiments and not being afraid to try different things as trial and error is how you achieve great designs. My new interest in typography encouraged me to look at the different letters in my environment, and so I went on a typography walk in Kingston-UponThames and created an alphabet, which I then digitally vectorised to really get a feel for the letterforms.

Iryna Degoda

Postgraduate Certificate Design for Visual Communication 20

Projects included above Typographic composition combined with photography tests.

Reflection Throughout my experience I have started to understand aesthetics and true beauty that many people see, but cannot feel. I also learned how important it is to give physical shape to your ideas. Digital design helps you to think analytically while the physical is about creativity and personality.

Anna Harrison +44 7835 626151


Projects included above Exploration of digital visual language and grammar lithographically printed in full‑colour on aluminium.

Reflection In an ever increasing digital world it is often easy to forget the importance of analogue design. However, for me the two are intrinsically connected, I need to work in the analogue before working in the digital.

Emilia Kalyvides +44 7951 255885

Postgraduate Certificate Design for Visual Communication 22

Projects included above I have used an image of the brutalist Brunswick Centre building and overlaid cropped letterforms printed using traditional letterpress techniques from laser‑cut acrylic blocks.

Reflection Combining digital and physical craft processes is a new way of thinking. The result is the invention of unique methods which utilise contemporary processes while reawakening past techniques.

David Lackey +44 7790 496144


Projects included above Free-form lettering drawn to a large scale on wallpaper and then cropped using cardboard frames overlaid on a selection of digital icons and a hybrid alphabet.

Reflection Blade, cutting mat, paper, text, low‑tack tape combine in an age‑old ritual forcibly slowing me down to play, experiment, test and question my design decisions. Go slow to go fast and connecting with my work is a lesson I treasure.

Magdalena Lapkouska +44 7706 606578

Postgraduate Certificate Design for Visual Communication 24

Projects included above Laser‑etched typeforms on acrylic with a letterpress trial.

Reflection I think in the modern world many people learn very quickly the digital way of creating something, but much less is put into physical design processes. In my opinion both matter, but physical design should go first and digital should follow. Otherwise, often designers are great digitally but when it comes to analogue there is lack of experience.

Crystal Lin


Projects included above Typographic trials employing colour theory and cropping of letters.

Reflection While analogue methods may be slower or more tedious than digital design, it was liberating to think outside the constraints of software. I found that the analogue design exercises were helpful in slowing down and grounding the design process in physical form, and the resulting design choices were more intentional than those made in a digital workspace.

Esme Mull

Postgraduate Certificate Design for Visual Communication 26

Projects included above Using hand‑drawn lines to express depth and typographic exploration.

Reflection When drawing and painting I always work instinctively, my layering of pencil, ink, paint and charcoal convey my subject matter. Whereas in digital graphics the calculated use of typography and visual language are my tools.

Sofia Pensado Freire +44 7540 221914


Projects included above Icons developed for an information design project with a photograph documenting city textures.

Reflection I am a freelance senior marketing manager with a communications background. After ten years in the post‑production and media industries, I have added design for visual communication to my skill set, which includes the integration of digital and analogue techniques to generate effective results.

Luisa Pereira

Postgraduate Certificate Design for Visual Communication 28

Projects included above Visual language and grammar tests with overlapping typography.

Reflection In design we develop our knowledge in different areas. It is very interesting to explore techniques using geometric shapes to convey an idea using a silent language. It is necessary to organize and simplify information and to develop a way of synthesizing everything into a digital format.

Lucy Roper +44 7365 005905


Projects included above Cocktail icons and visual language and grammar exercises.

Reflection I have always preferred working digitally. I like the freedom of being able to revisit, rework, and revise old compositions at any given time. When working digitally, I naturally feel compelled to experiment more, as anything can be amended.

Alexandra Shepherd +44 7850 284131

Postgraduate Certificate Design for Visual Communication 30

Projects included above Digital and analogue typographic experiments combined.

Reflection Analogue processes are the foundation of my digital work. I often use pen and paper to quickly test out ideas, while my experiences with bookbinding and letterpress have developed my eye for detail which is fundamental to good design.

Kenichi Shimizu


Projects included above Icon developed for an information design project with a hybrid letterform trial.

Reflection The aesthetics of art is not necessarily that of the field of design which is based on function. Many of the outcomes are required to be digitally mass‑produced, so that with rules, there is little room for confusion at the production stage.

Eve Stotesbury +44 7907 582217

Postgraduate Certificate Design for Visual Communication 32

Projects included above Glitch experiment with a photographic visual language and grammar exercise.

Reflection Analogue is experimental, digital feels sleek and clean‑cut. I enjoy using both in tandem, one sparking the other and my curiosity to push both media, taking each further through my ideas. They allow a different aesthetic and method to stretch and develop practice, complementing each other and ever evolving.

Eleanor Tomlinson +44 7939 100487


Projects included above Visual grammar animated poster and letterpress trials.

Reflection I believe in the power of learning by doing, and this course provided the structure for me to develop my design skills through increasingly complex projects. I have learned that the fundamental principles of design apply across digital and analogue processes.


Postgraduate Diploma Design for Visual Communication


Matt Alchin

Postgraduate Diploma Design for Visual Communication 36

Projects included above Overlaying analogue letterpress book covers onto a digitally created collage.

Reflection For me, digital doesn’t even come close to matching the experience and connection to a design when making something tactile with your hands using analogue/physical processes . . . at least, not yet!

Julien BallouĂŠ +44 7555 082383


Projects included above Letterpress experimentation combined with a digital gradient.

Reflection Digital design has limitations that we unconsciously integrate in our practice. By manipulating physical media, I learned through the course how to use analogue design to step aside from the screen of my computer and improve my practice.

Francesca Ceconi +44 7444 089131

Postgraduate Diploma Design for Visual Communication 38

Projects included above Acrylic paint and digital bitmapping manipulation created for a screen‑printing experiment.

Reflection Physical design processes are particularly advantageous in terms of creativity, self‑expression and design thinking. On the other hand, digital allows interaction and two‑way communication with a wider audience. Together, they can collaborate to create new and exciting possibilities.

Chuyi Chen +44 7421 142311 Instagram: designasanartist


Projects included above Graduated monoprint combined with digital typography.

Reflection Physical design is for building prototypes and provides more opportunities to fully explore the best final outcome. Digital media are for the final output and are more about the execution.

Kexin Chen +44 7851 664134

Postgraduate Diploma Design for Visual Communication 40

Projects included above Disassembled fan heater combined with a typographic experiment.

Reflection It is exciting to explore ‘accidents’ and experience serendipity in the physical design process.

Qiyu Deng


Projects included above Letterform experiments made from transparent paper and part of a digital geometric visual language and grammar experiment.

Reflection Physical design is more like the beginning of a creation that can be touched and felt. Afterwards there are many ways an idea can be realised – digital design being one of the them.

Christina Domini +44 7533 283832

Postgraduate Diploma Design for Visual Communication 42

Projects included above Monoprint exploring visual language, a visual grammar exercise, and a typographic exploration.

Reflection Before joining the course I had no conception of the influence that analogue techniques, such as paper collages, monoprinting and lithography and letterpress could have on digital design processes. Now I am aware that analogue exercises are useful to aid understanding of dimensions, colour combinations and positioning, or, simply, how visual elements interact with each other.

Dina Elsawi Mourssi +44 7517 772026


Projects included above Digitally distorted hand‑made prints, photographs, and experiments using a map.

Reflection Digital technology gave me the chance to gain skills on platforms I had not previously used and it showed me a new-found love for moving image.

Qianwen Fu +44 7561 497080

Postgraduate Diploma Design for Visual Communication 44

Projects included above Dissecting a ticket and digital illustrations of a pen using the theme of ‘disassemble’.

Reflection All processes have their own advantages. Though the future may be digital, analogue technology will continue to resonate with the designer and the viewer.

Yuxin He +44 7376 035732


Projects included above Alphabet created from petals with digital trials based on the theme of measurements.

Reflection Digital processes enable designers to produce outcomes quickly and easily, but analogue or physical design processes are the way to make tangible ‘artwork’ for graphic design, as it can be actually touched and felt.

Julie Huang +44 7529 142608

Postgraduate Diploma Design for Visual Communication 46

Projects included above Visual language and grammar exploration with a detail from an information design project.

Reflection The physical design process helps to touch, listen, see and smell what has been produced, while the digital process replicates this. They are both necessary for graphic designers.

BĂŠatrice S Hug +44 7894 136495


Projects included above Tests for the creation of a campaign identity using screen‑printing, glass and illustration.

Reflection Overwhelmed by the many facilities available at LCC, I initially found myself leaning on digital tools as a crutch, with their familiarity, speed, and overall ease. What analogue processes provide however (if you’ll allow it), is the rare but important opportunity to play.

Tim Kwan +44 7460 064919

Postgraduate Diploma Design for Visual Communication 48

Projects included above Background sun print photography experiment with cartographic elements combined with typography.

Reflection Digital designs solve algorithmic problems and analogue designs solve physical problems. In my view, it is the main reason why there are programmable digital circuits and no equivalent programmable analogue counterparts.

Anthony Leal +44 7596 891561


Projects included above Experimenting with e‑textiles, physical computing, letterpress, and creative coding. Conductive Ink/paper super‑imposed on a circle made with letterpress. The geometric shapes on the left‑hand side are timed and created based on the notes and structure of Chopin’s Nocturne Op. 9 No. 2.

Reflection For my final project, my goal was to create an innovative digital and analogue wayfinding system for King’s Cross. I discovered that both parts were absolutely essential in creating a successful project. You cannot have one without the other is what I have discovered. It is essential to have a foundation for both as we are in the digital age, but it is important to preserve that craft as well, which is the essence of my project.

Terry Lin +886 9600 33083

Postgraduate Diploma Design for Visual Communication 50

Projects included above Linocut of a map’s 3d contour lines combined with visual language and grammar poster elements.

Reflection It is efficient when designing digitally as it can be revised easily. However, during the process of brainstorming and making experiments, using analogue media can help designers to think broader and come to an unexpected result.

Monira Meah


Projects included above Geometric letter elements; visual language and grammar poster elements; scanning experiment and embossing experiment.

Reflection After completing a short course in graphic design here, I found a new passion of mine in visual communication. I wanted to continue learning and found this course. As a result, IÂ have learned that using analogue techniques tends to bring out more ideas than using solely a computer.

Aastha Mehta

Postgraduate Diploma Design for Visual Communication 52

Projects included above Digital visual grammar experiment and a detail of a linocut test.

Reflection In my experience, both digital and analogue processes go hand‑in‑hand. Physically making things enables me to fully understand and explore materials and media, and to be more expressive. Whereas digital processes allow me to refine the work and produce finer results.

Helen Ng +852 9872 3276


Projects included above Overlapping the type cover with photography. The photo captures some letters (‘BIND’) tied together which was 3d printed.

Reflection I enjoy creating experiments with my hands before executing it digitally. It allows me to think from different angles and generate more ideas. Meanwhile, technology helps me to visualise my ideas.

Sanjana Nyapati +44 7775 659260

Postgraduate Diploma Design for Visual Communication 54

Projects included above Modified printed map combined with amorphous digital manipulation.

Reflection Digital and analogue processes have felt so drastically different to me but somehow through my years with design I have almost always ended up pairing the two together. Whether it is creating an illustration digitally and then transforming it into a print via screen‑print, or whether it is using linocut to create a print, scanning and manipulating it digitally to create multiple versions of an image, I feel like there are infinite possibilities when it comes to making the most of both by using them together.

Margarida Peixoto +44 7472 769269 ana‑m‑


Projects included above Analogue photography and digital alteration of printed tickets.

Reflection Digital and physical processes both have their own advantages and distinctive uses. In my own experience I see that they can, and should, be used to complement each other in order to maximise their unique qualities.

Tanisha Praveen Kumar Jain +44 7842 449151

Postgraduate Diploma Design for Visual Communication 56

Projects included above Digital typography overlapping an experimental linocut of printed map contours.

Reflection I have developed a good understanding about the difference between the digital and analogue processes. The analogue process gives a more hands‑on experience and makes me feel more connected. A combination of the two processes helps me understand the interaction with each other.

Camila Schmitsler


Projects included above Experimental collage using cut‑up printouts and photocopies with a typographic book cover.

Reflection In a world that insists on being more and more digital everyday, it is important to keep a balance. Both analogue and digital techniques have their pros and cons and ideally, a designer would be able to blend processes to get the best of both worlds.

Nathalie Shores

Postgraduate Diploma Design for Visual Communication 58

Projects included above Collage created from: a digitally generated visual grammar poster; typography from a cover; and newspaper cut‑outs overlays.

Reflection Knowing how to use digital and analogue processes is an essential tool that all designers should have. Projects become richer with the versatility of the visual language created through meshing both digital and analogue together – having the judgment to know how to use each one is the tricky part.

Ke Shu +44 7594 982026


Projects included above Digital production of a geometric alphabet and a photograph of laser‑cut layers.

Reflection I think the differences between digital and analogue processes are experience‑based. The physical design process creates deeper feelings and experiences. This slower and more primitive method of production encourages a broader way of thinking.

Kanushree Singhal +91 9950 474000 the‑‑575022

Postgraduate Diploma Design for Visual Communication 60

Projects included above Photography of brutalist architecture at the South Bank and digital overlapping of various forms of the letter k.

Reflection For me, design is about solving problems with a human‑created approach. I prefer a combination of a digital plus analogue approach to design as one gets to have a hands‑on studio experience, building a multitude of production skills as well as modifying it digitally to make it visually more appealing.

Jens Wolter +44 7775 638674


Projects included above Acrylic paint on cardboard juxtaposed with a digital dot experiment.

Reflection A print‑free future is difficult to imagine. An analogue understanding permeates digital design, as a tactile and multi‑dimensional approach that can help to elevate digital practice.

Ying Xin +44 7529 186716

Postgraduate Diploma Design for Visual Communication 62

Projects included above Relief printing production of crafted river patterns with digital image production of physical maps.

Reflection I consider the physical design process as an archive which I can refer back to. I regard the digital design process as a laboratory where I can renew my practice.

Ruolan Xu +44 7955 005792


Projects included above Digital geometric alphabet test with a letterform created from pins stuck into polystyrene.

Reflection Digital processes are flexible and can have immediate effects through many platforms creating finished designs. Physical processes require materials, feel natural and practical; they make an easy‑to‑understand space, and we are able to touch, and to feel, having a real interaction with our bodies and hands.


Course Leader

Tony Pritchard

Text printing

Tony Yard, LCC

Lead Tutor and Joint Co‑ordinator

Benedict Richards

Cover printing and binding

FE Burman Printed on an HP Indigo digital press using Mosaic software to generate 500 unique covers from one artwork

Associate Lecturers

David Daniels Margot Lombaert

Cover paper

GF Smith Peregrina Real Silver 250gsm


Dr Russell Bestley Gill Brown Ian Carr Peter Chadwick June Mineyama‑Smithson

Text paper

Fenner Starfine White 130gsm


7.5pt on 9pt Helvetica Neue 55 and 85


Heidelberg UK and Fuji Film

Special thanks

FE Burman and GF Smith for their support of this publication. The course is indebted to the following people, departments and companies who have supported the students throughout the year: Tommaso Cesaro Scott House, Andre Boni Sapori Dr J Milo Taylor Tony Yard Rahel Zoller Staff in the Creative Technology Lab, Digital Printing and Reprographics, the Digital Space, Learning Support, Letterpress, the Library, and Printmaking. Foil and Company GF Smith And to Dr Nicky Ryan for supporting this publication.

London College of Communication (LCC) is a pioneering world leader in creative communications 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 and Castle, London SE1 6SB @LCCLondon

Profile for Tony Pritchard

Design for Visual Communication 2019  

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

Design for Visual Communication 2019  

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