Page 1

Postgraduate Certificate and Diploma Design for Visual Communication 2017

mb b r a

18

lc i r l

19

jc e n g

20

ee e n g

21

of l t u

22

eh f i n

24

al e n g

25

sl f r a

26

28

xp e n g

29

ap i t a

30

jr b r a

31

ds e n g

32

hs h u n

33

ry p h l

39

cd e n g

40

cf e s p

41

of b e l

42

rg i n d

43

si t h a

44

lj e n g

45

aj b r a

46

sl h k g

47

ll c h n

48

nl c h n

49

27

do i r l

lt e n g

38

ac i n d

23

aj p o l

pm e n g

mb d e u

km i n d

50

xm c h n

51

sm u s a

52

cp e n g

53

mr i n d

54

jr e n g

55

ss i n d

56

ms d n k

57

ps c h n

58

34 hu t u r

59

av e n g

60

yw c h n

61

gx c h n

62

sz c h n

63

35


Postgraduate Certificate and Postgraduate Diploma Design for Visual Communication 2017

*

˘̃ ˜

¤›

ˆ¿

;

˜

Type Classification Bruno Maag

” &

¢ ˘̃ ›

¡

Volume 2 Sans Serif

‡ ;

¿

§

Type Classification Top left clockwise Lily Thomas Helin Ulas Miriam Brüggen Alice Vuillamy

Unit 1 Research and Development Unit 2 Design Resolution

3

A significant part of the course philosophy is to develop a solid understanding of the basic principles of visual communication. These principles include an appreciation of type classification; typographic hierarchy; colour; visual language and grammar; grid structures; space; navigation; and narrative. The course curriculum introduces fundamental concepts through hands-on and low-tech workshops prior to screen-based computer work. The workshops investigate forms in the abstract. Considering the layers of visual communication seperately enables

students a far greater understanding and control when applying their new skills to complex situations such as with information design. Theory and practice are integrated within studio activity. This allows students to establish a stronger connection between what they are making and the body of subject knowledge surrounding their practice. An example of this would be the visual language workshop where students work with forms such as circles, squares and lines whilst developing an understanding of Gestalt theory and its principles.


Circle Line Square

An exhibition of

Visual Language and Grammar

Thursday 20 April to Monday 29 May 2017 Kemistry Gallery 31 Charlotte Road London EC2A 3PB

Unit 1 Research and Development Unit 2 Design Resolution

This page Top left Type Hierarchy Rhea Goyal Top right Visual Language Helin Ulas Opposite page Information Design Shreya Singal

4

The presentations by staff provide a contextual grounding to each area encountered. Given the profile of the cohort the examples shown strive to include gender and cultural representation, questioning the notion of a fixed canon. The first unit encourages students to engage with research and development. The course mantra of document, experiment, contextualize and evaluate directly relates to the University assessment criteria of research, analysis, experimentation and subject knowledge. We encourage students to explore for the sake of exploration understanding that not all research has a guaranteed outcome.

In the words of American zoologist, Marston Bates, ‘research is the process of going up alleys to see if they are blind’. The second unit enables design outcomes to be identified from the research and development undertaken in the first unit. Through this method staff and students are able to apply the basic principles of visual communication in practice. Technical competence is developed through refining practice and accepting that we learn through trial and error. Students must remain self-critical and open to new ideas in order to make progress.


FLT in Chain Links A symbol of the Independent Order of Odd Fellows, a fraternal organization.

Anchor A symbol of hope and steadfastness, and eternal life. It is often found on sailors’ headstones.

Alpha and Omega Symbolizes the beginning and the end.

12

6

9 8

7

10

m Hands h symbol esents s of the ribe of

Lily of the Valley Purity, innocence, virginity.

Crown and Cross Symbolises both victory and Christianity.

Agnus Dei Represents the Lamb of God.

A Typology of Gravestones

Cross

Cross with squares

Cross with circles

5 Cross with

11

Square and Compass Found on gravestones belonging to members of the Freemasons.


KP04

KP05 3

“...maybe we could talk about this this as as the the art art of of psychographics...” psychographics...” 5

Photographs featuring

4

1–4 Wrestlers would develop a

in Grunts and Grapples,

persona to gain favour with

an exhibition about the culture of British Wrestling,

the crowd. This would often lead to contrived social

popularised in the 1950s.

narratives, providing a back

The exhibition features

drop to the entertainment.

memorabilia and footage. Curated by Kerry Purcell.

1

2

2 An ‘unmasking’, where a wrestler is theatrically shamed by having himask removed to reveal his ‘true

5 Sometimes, however, the ‘pretend’ could get a little too real...

identity’. Often this was used as a device to refresh character pools and many wrestlers would return later with a different backstory.

Unit 3 Professional and Academic Context

Top left Joshua Roy Opposite page Laura James

6

This year saw a change to the full-time course Professional and Academic Context project. It has run successfully in its previous format for many years but just as students are encouraged to experiment so too should a course. The idea was to invite three speakers who have a more academic leaning and three speakers from a professional background. This immediately opened up debate as to what those terms mean and how they are defined. Many of our participants were reluctant to accept one label or the other. Peter Chadwick sees his work as one project be that writing, teaching or commercial practice. Kate McLean despite being a PhD candidate felt uncomfortable being in one camp or the other. This questioning of the basic tenet of our proposition seemed entirely appropriate for postgraduate students to encounter and deal with.

The other significant challenge was that we were embarking on a project that had no content. The content would have to emerge from the students’ ability to engage with each speaker and the time that they had with them. The work on these pages hopefully pays testament to what can be achieved when risks are taken in the pursuit of a genuine educational exploration. The project took place over three consecutive weeks with a pairing of academia and commerce over morning and afternoon sessions. The course would like to thank Kelvyn and Kate for week one; Kerry and Stefi for week two; and Peter and Tom for week three.


12– 13

Peter Chadwick

Professional and academic contexts

All the majesty of a city landscape/ all the soaring days of our lives/ all the concrete dreams in my mind’s eye/

Kerry William Purcell When Kerry visited the course in November 2016 he had just launched the exhibition ‘Grunts and Grapples’, profiling forty years of wrestling. Many will know him from the articles he has written for journals such as Eye Magazine and as an author of numerous books including the monograph he wrote for Phaidon on Josef MüllerBrockmann. He is writing his PhD thesis on philosopher Alain Badiou and runs a podcast called The Last Outpost that includes an interview with Wim Crouwel. Although known as a design historian and writer his academic roots are firstly within sociology and cultural theory. His profile fits well with the course as many also come from equally varied professional and academic backgrounds. Kerry’s presentation to the group was fluid and students found it easy to engage in conversation with him. The presentation acted more as a catalyst for debate around numerous themes. 7

all the joy seen through these architect’s eyes/

David Bowie Thru these architect’s eyes 1996

Peter Chadwick The course came into contact with Peter not long after the publication of his book ‘This Brutal World’ with Phaidon in May 2016. His interest in Brutalism is derived from the North of England surroundings he grew up in during the 1970s. Peter is a great believer in the power of social media and included a Twitter-based project as part of his presentation to the group. The project was to photograph Brutalist buildings around the college situated in Elephant and Castle and tweet these using the hash-tag LCCConcreteandbrutal. Prior to taking up a position as tutor in graphic design at Chelsea College of Art, Peter had a varied career working within the music, fashion and retail sectors. His clients included: Primal Scream; Groove Armada; Beth Orton; Ministry of Sound; Harvey Nichols and Paul Smith.

10 Detail of A&A building

Stefi Orazi Stefi began her career as a designer on GQ Magazine before joining Graphic Thought facility as a senior designer. She established her own practice Stefi Orazi Studio in 2006. On moving to London Stefi found herself renting a room on the Barbican Estate, the experience of which subsequently fuelled a passion for Modernist architecture. The story of her book ‘Modernist Estates’ began with her own property search where she also considered the social, historic and political aspects of the buildings beyond their price point. Alongside running her design practice Stefi sells prints, cards, homeware and lighting all of which she designs and produces herself. These are available online through her outlet Things You Can Buy founded in 2007.


17

References

Kate McLean

When asked if she has a particularly strong sense of smell, Kate McLean shakes her head. It’s a surprising answer from someone in her line of work: McLean, a lecturer at Canterbury Christ Church University, has spent the past several years making smellmaps, diagrams that trace the different odors over time and space in a specific place. She’s traveled to Pamplona, New York, Singapore, and beyond, gathering people to literally sniff out the smells that occupy a city. McLean then draws a map and indicates the location, type, intensity, and temporality of each odor. Using a variety of methods, McLean distills smells into liquid, producing a result she prefers to artificially created odors

Unit 3 Professional and Academic Context

Top left Suze Myers Opposite page Aradhana Chand

8

Kate McLean Kate is an educator and practitioner with a focus on sensory mapping. This work takes the form of an investigation into the urban environment and how this might be visually described in terms of smell and topography. Kate sees this as an alternative interpretation of space that has hitherto been untapped. She leads interested parties on smell walks. These experiences are then sketched out and finally mapped and animated to enable a time-based record of an event. Kate is registered as a PhD candidate in Information Experience Design with the Royal College of Art. Her work has garnered attention from the media with appearances at conferences; articles in The Guardian and The Independent; and on BBC radio and television. After presenting her work to the attentive student audience, the inevitable moment came when that audience became participants in sampling Kate’s collection of captured aromas.

The result is a satisfying mix of science and intimacy. Paris smells like coffee, bread, steak,

and French cigarettes. Newport, Rhode Island is a paradoxical combination of beach roses and rotten lobster bait. Glasgow smells like a particular brand of carbolic soap. But when McLean asks others to identify odors, her participants often provide lyrical answers, drawing on memory and personal experience to make figurative, often enigmatic associations like ‘the smell of history’ or ‘deep dark secrets.’ She views smell as an oft-underutilized sense with a huge capacity for emotion, history, and culture, all set within a specific spatiotemporality. ‘When an intimacy occurs between subject and object,’ Mclean says, ‘It must surely be smell.’

Kelyvn Smith Kelvyn discovered letterpress whilst a student at Norwich in 1989. Despite being adept at computer typography, Kelvyn prefers the slower process of hand setting. He experienced working for high profile agencies on largescale projects, but big business wasn’t him and he decided to change direction. This led to a four-year apprenticeship working as an assistant to Alan Kitching. He comments that although letterpress might be old technology it can be fashioned in a contemporary way. Kelvyn describes his process as building and sculpturing typography on the stone surface. He manages private commissions and commercial projects such as with Marks & Spencer and Pret a Manger. Working with Kelvyn is an interesting experience, students visited his workshop in small groups rather he come to college. This allowed a more visceral experience.


6

Professional context

Bottom left & top right: Wood type prints by Kelvyn Smith for a commissioned poster series, called ‘Booze’. Opposite: Metal type invitation printed by Kelvyn Smith for the William Morris Gallery.

Kelvyn Smith believes in good practice and quality workmanship. He creates exquisitely crafted contemporary typographic printed matter using traditional wood and metal type. Admitting that using letterpress is a slow and strenuous, he sees it as a process that is tailored and an antidote to modern technology. He says he is ‘constructing and building’ all day and he prefers it over sitting on a computer all day. He loves being able to control every bit of his design. He also uses letterpress to create design that lasts longer. These days we produce print material that has a short life and gets discarded but Smith believes that letterpress design, like plants and architecture, has a legacy. He wanted to produce work that is valued and is something people would like to keep and maybe put up on their wall.

Tom Hornby Tom Hornby’s first visit to the course this year (see Portfolio Reviews) was in the context of describing his journey to working as a designer for Sea Design via the Postgraduate Certificate Design for Visual Communication course in 2012. Tom provided reassurance for mature learners that he feels it can be an advantage in making progress within the profession through a trust often associated with age. Tom says of his work that it ‘reflects an evergrowing interest in technology and production processes, whilst demonstrating a clear appreciation of fundamental design principles’.

9


Collaborative Unit

This page Top left and right Shengtao Zhuang Bottom right Sui Ki Law Opposite page Libo Li

10

This year the course Collaborative Unit saw engagement with external visiting practitioners and professional agencies who have expertise in the specialist areas of moving image; exhibition design; reductive drawing; and typography. This intense period of study gave students the opportunity to work in small groups led by experienced professionals. The emphasis was on experimentation and how this might influence the processes inherent with the following major project units. The resultant work manifest itself in animations; exhibition plans; reductive drawings; and publication projects that were submitted as part of the International Society of Typographic Designers’ student assessment. We present here the profiles of our visiting collaborators and a selection of work from the students.


Geoff Haddon During the 1980s and 1990s Geoff was an associate of the design consultancy Root 2 Design. Although an accomplished all round designer his particular strength has been within technical drawing using geometry. In recent years he developed his practice through vector-based creations using Adobe Illustrator. The influence of designers and artists such as Armin Hofmann and Michael Craig-Martin are discernable within his work. He has taught at London College of Communication but is most associated with his time at Middlesex University where he was in employment from 1987. His workshop entitled ‘Reduction and Redundancy’ explores what is essential within the graphic representation of objects and what can be omitted without losing recognition of the item being drawn.

11

David Daniels David is a graphic designer primarily working within moving image. He was the second person in Europe to exploit the potential of the digital animation software Adobe After Effects. He sees the software as being like a cooker and that you need to create the ingredients to work with. A lot of his work combines self generated abstractions with audio soundtracks stemming from collaborations with sound artists and musicians. His work within music has seen applications through set design and stage projections. David has worked with artists such as: The Rolling Stones; Roger Waters; Led Zeppelin and Bryan Adams. His commercial work within advertising has included: Honda; Fiat; Rimmel; and the Co-Op Bank. He has created animations for the Science Museum and VH-1 Television.

Margot Lombart Margot joined the Postgraduate Diploma course in 2013. She had previously worked within the fashion industry firstly with Hermès and then prior to the course with Givenchy. Whilst studying at London College of Communication Margot developed an appreciation of graphic design within three-dimensional space. This led to a major project financed by a Kickstarter campaign that saw the installation of colour vinyl lettering onto the glass façade of a French library. On graduation she gained further experience within this area at Nick Bell Design and with Tom Hingston Studio. Margot now runs her own practice, Margot Lombaert Studio. She has collaborated with the crossdisciplinary practice Plaid. A lot of her work is within the museum and exhibition environments such as with the British Library and the Victoria & Albert Museum.


g

reati e ndo s design a fashion tend to en the igns ar ents of eila s t see n to the are ners

Collaborative Unit

This page Top Miriam Brüggen Bottom Laura James Opposite Page Alice Vuillamy Spun Inthawong Mai Sommer Helin Ulas

12

International Society of Typographic Designers 2017 saw six students enter the International Society of Typographic Designers’ (ISTD) annual student assessment scheme. If successful, participants are offered membership to this esteemed society, which was founded in 1928 by Vincent Steer whose aim was to establish typography as a distinct profession. Current members and fellows include: Margaret Calvert; Lucienne Roberts; Astrid Stavro; Erik Spiekermann; Wim Crouwel; and Alan Kitching. Past members included amongst others Josef MüllerBrockmann; Tom Eckersley; Anthony Froshaug; and FHK Henrion. The project began with a visit from the society’s Education

Director John Paul Dowling who introduced past examples from the scheme. In what has been described as one of ‘the most rigorous design assessment[s] in the world’ all six students passed gaining a unique 100% success rate against a national average of 30%. Miriam Brüggen achieved the highest grade of Commendation. Laura James, Alice Vulliamy and Spun Inthawong gained Merits. Mai Sommer and Helin Ulas joined their fellow students with passes.


13


Portfolio Reviews

Above Peter Carr

14

This year we have invited eight graduates of the Design for Visual Communication courses, who have been working in industry for five years or more, to come back and lead portfolio review sessions with the Diploma students. These will take place in the final few weeks of the year when students are focusing on their future direction and how to realise their ambitions, be they professional or academic, on leaving the programme. The returning graduates have gone on to work in a range of disciplines, but all share an interest in supporting current students taking their first steps into new territories on completing this course of study.


Nick Hearne Nick Hearne completed the parttime Certificate course when it was in only its second year: 2005. Today he is an award-winning creative director whose work focuses on innovation, social and digital media, and creative thinking. Highlights of his practice include work for Thames & Hudson, Addidas, the BBC and Google as well as launching a Tandoori lamb chop into space. Nick is currently Global Creative Director at Spark44 and has previously worked for We Are Social, U-Dox International Creative Agency and Blue Hive. Peter Carr Peter Carr returned to London College of Communication to complete the full-time course having previously been a student of letterpress aficionado, Dave Dabner, on the HND in Typographic Design. On the Postgraduate Diploma course in 2012 Pete drew on his experience as a fish monger to produce an entire pop-up fish and chip shop, associated signage and visual identity for his final major project. He went on to gain experience in a variety of studios as far afield as Atlas in Mallorca, before settling down in Whitechapel where he works for Collaborate – a practice specialising in brand and identity work and outdoor and exhibition graphics. Carolina Magro Italian born, Carolina Magro joined the part-time Certificate in 2012 having completed a BA in Visual and Performing Arts in Venice. Carolina went on to work at London studios: SomeOne and DixonBaxi and is now a graphic designer at Red and White – who specialise in strategic brand and identity work for clients including Kodak Alaris, Sadler’s Wells Theatre and the British Library. Susanna Foppoli Susanna Foppoli is currently working as a designer at Browns: a studio whose work ranges from global identities to moving image, touring museum shows to tactile art books. Since finishing the part-time Certificate course five years ago she has also worked at Creative Review, Rose Design and Monogram London, alongside which she found the time to develop one her course projects into a solo exhibition of abstract typographic compositions for the 2014 London Design Festival. 15

Philippa Thomas Philippa Thomas brought a BA in product design and her experience of working in the merchandising team at House of Fraser to the full-time, Diploma course in 2012. She went on to work as a freelancer, specialising in information design on projects including David McCandless’ second book: ‘Knowledge is Beautiful’. She is currently working in-house as a designer for the campaigning charity Shelter, having previously been at Bloodwise: the national leukemia and lymphoma charity. Tom Hornby Tom Hornby combined his studies on the part-time Certificate course in 2012 with his role in customer services at an Apple store. In his time at London College of Communication he produced a memorable map of every public transport station or stop in Britain. Tom not only took part in our portfolio review sessions this year, but also came back to deliver a talk to the students as part of the Professional and Academic Contexts Unit. Tom gave insights into his work as a senior designer at Sea Design. Along with the five other practitioners, this then became the basis of a large-format print publication. Daniel Shannon Daniel Shannon has established a busy practice as a graphic designer, working independently and with studios including Bibliothèque, Why Not Associates and Graphic Thought Facility. He has returned to speak to students on the course in this and previous years – sharing the insight and experience he has gained in the five years since he completed the part-time Certificate in 2012. Emily Fox Emily Fox completed the part-time certificate course and went on to study on the MA Graphic Design course here at London College of Communication. She made the focus of her major project creative excellence in contemporary book design practice. Ten years after completing the course Emily is currently a Creative Partner at Lewis Moberly: a strategic creative business focusing on brand and identity work.


Guest Speakers

This page Lucienne Roberts Opposite page Valentina D’Efilippo

16

This year the Design for Visual Communication courses have been enriched by the participation of visiting practitioners and academics who have shared their knowledge, expertise, insight and experience with students through talks, presentations and workshops.

Lucienne Roberts Alliance Graphique Internationale (AGI) member, Lucie, has over the last 30 years, established a highly regarded practice, and is one of the most most notable designers working in the UK today. In a fascinating talk, she described how her interests in aesthetics, politics, story-telling and the value of intelligent distraction, combine to form the personal benchmark with which she measures the success of each of her projects. She went on to give us an insight into her work on exhibitions including the London Design Museum’s New Old and Bradford’s Science and Media Museum’s Wonderlab. She also described how she and Rebecca Wright established the publishing concern GraphicDesign& to explore the intersections between graphic design and related disciplines. Finally, Lucie touched on the books she has written, including, ‘Good: An Introduction to Ethics in Graphic Design’.


Valentina D’Efilippo Alumna of the course Valentina, has carved out a notable niche for herself, as a pre-eminent data visualisation practitioner. In collaboration with data journalist James Ball she co-authored and designed ‘The Infographic History of the World’ in 2013. In 2014 one of the visualisations was developed into an interactive website: poppyfield.org exploring the scale of deaths in conflict. This marked the centenary of the Great War. She currently combines her practice with delivering data visualization courses for The Guardian. Her presentation gave a fascinating insight into the process she uses to construct visual narratives at the heart of her work. She also discussed her recent work Oddityviz: a visual deconstruction of David Bowie’s ‘A Space Oddity’. She and researcher Miriam Quick developed ten specially engraved records; a series of posters and an animation that were exhibited at Wieden and Kennedy this year. 17

Geoff White Geoff was born in 1928 and is part of a generation of post-war British Modernist designers. He studied at the Central School under Victor Pasmore, Herbert Spencer and Anthony Froshaug alongside Peter Wildbur, Ken Briggs and Colin Forbes. Geoff was profiled in the journal Octavo and the book ‘Drip Dry Shirts’ by Lucienne Roberts. He is perhaps most noted for his time as an influential year one tutor at Ravensbourne College of Art and Design. Geoff has taught on the Design for Visual Communication courses bringing his unique take on visual language and typography to many students. These days Geoff makes an annual visit to the course to share his impressive collection of posters, many of which he designed himself. These examples are exemplars of the use of typography, colour and use of space.

Dr Russell Bestley We were joined in the formative stages of the major projects on the Diploma course by Dr Russell Bestley. Russ brought his formidable and extensive understanding of design practice and research methods to a workshop dedicated to developing the students’ major project research questions. He delivered a presentation which touched on his own PhD research ‘Hitsville UK: Punk Rock and Graphic Design in the Faraway Towns, 1976–84’, as well as some of the many projects he has developed with students at Masters level. As author, co-author and designer of numerous publications on design and design research, Russ provided an inspirational talk and led an insightful workshop on developing the research-based projects, which the students were initiating.


David Bennett David is a London College of Communication (LCC) graduate who studied on the HND in Typographic Design, and is currently Creative Director at OPX – a critically acclaimed studio specialising in branding and identity work. David showed us some of his most memorable projects, including the letterpress inspired work for Look Mum No Hands, and large-scale exhibition and way-finding graphics for the Crafts Council. Alongside his professional practice, David is also the visionary behind Visuelle. Initially a blog which celebrated notable design work from around the world, he also developed the content into a lovingly presented large-scale print publication called Edition. David went on to give us an insight into other recent selfinitiated projects he’s completed including a series of calendars as well as publications produced in partnership with architects and artists – leaving us wondering where he finds the time, but very pleased to have had such an inspiring and enthusiastic speaker.

Above David Bennett

18

Mark Pawson Mark Pawson is a self-confessed image junkie whose work includes cards and badges made from his own front living room. He came to prominence with his Die-Cut Plug Wiring Diagram Book, which contains thirty-six life size British plug wiring diagrams. Mark’s work makes use of recycled materials such as second hand postcards and re-used pizza boxes. Mark is a regular visitor to the postgraduate design department engaging students with his approach to Do-It-Yourself (DIY) graphics. This process often uses a typologising of images manipulated through a Risograph machine.

Hamish Muir Hamish’s work as a designer is internationally acclaimed, and has been a consistent touch-point for students on the course. He came to prominence as co-founder of London-based practice 8vo and one of the editors of the International Journal of Typography ‘Octavo’. Currently his work has been mostly associated with MuirMcNeil and the exploration of parametric design systems. Recently Hamish was involved with a successful Kickstarter campaign to revisit the making of ‘Octavo’ with Unit Editions. ‘Octavo Redux’ is due to be published later this year. Hamish’s talk brings to a close an inspiring set of evening events.


Postgraduate Certificate Design for Visual Communication

19


Milena Benevento Vilela hello@milenabenevento.com milenabenevento.com

Postgraduate Certificate Design for Visual Communication 20

Project Title Beautiful Brazilian Books

In the digital era, why would we still print novels? What if we could make them look interesting to the point you would consider reading a random story? Beautiful Brazilian Books – B – is an independent publisher specialising in Brazilian literature. Sample booklets were created to promote a system of book subscription, aiming to deliver, monthly, a hand picked story from a Brazilian author as a limited edition book, freshly designed and built to impress from page one. Avoiding common stereotypes associated with Brazilian culture, the project aims to focus on the outstanding quality of the authors and visually interpret the stories in the form of a carefully crafted book.


Louise Carey 07552 758025 loucarey@gmail.com cargocollective.com/loucarey

21

Project Title Relief in the City

My interest in textures and patterns led me to explore relief surfaces found in the city of London. The resulting publication I produced is a tactile object that highlights the architectural materials and brings to life the textured and relief surfaces of the buildings. A refined selection of paper qualities reflect the architectural materials and compliment the striking imagery used throughout the publication. The cover of the publication emphasizes texture from the outset with the paper stock, letterpress text, and Japanese binding, providing a tactile experience for the reader to give them a taste of the publication’s content.


Janey Chan j.chan0720161@arts.ac.uk

Postgraduate Certificate Design for Visual Communication 22

Project Title An Exploration of Arches and Archways

My project is about the different kinds of arches and archways that can be found in places around London. There are many structures to explore under the definition of ‘arches’. The most apparent structure is the archway, which is a curved structure forming a passage or entrance – these are most commonly found in doorways. However, I also looked at other types of arches: the arches that are found as part of the structure of ceilings, the arches found in park entrance gates, the arches in bridges (viaducts), and organicallymade arches created by trees. My project focuses on exploring visually interesting contrasts in structure, shape and raw materials.


Edward Eaton 07940 713264 eddroard@gmail.com edwardeaton.com

23

Project Title Motion Identity

I developed a motion identity for e-Luminate Cambridge Festival of Light, inspired by the form of the projector bulb. The qualities of light and the projection processes lend personality, weight and volume to the identity, which takes advantage of recent technologies to shift and adapt across multiple platforms. The identity responds to a user’s presence via motion sensing, creating an interactive audience experience. Built around the movement of real elements, interacting with the identity is instinctual: every movement is recognisable as something the user has experienced before, but it remains refreshing and new in its vivacity and response to stimulus.


Olga Fiodorova 07824 191945 olgafiodorova1990@gmail.com

Postgraduate Certificate Design for Visual Communication 24

Project Title íslandic

Íslandic (pronounced: [istlantik] from Ísland, in English-Iceland) is a contemporary fashion brand with a distinctly Nordic sensibility and a design aesthetic built around core values of modernity and minimalism. Íslandic collections of statement silk scarves and leather accessories define modern graphic elegance with a focus on construction, craftsmanship and attention to detail. Cool blue and green tones alongside charcoal black and clear white create a significant contrast that represents the distinctive íslandic language.


Ella Halmari 07780 672022 ella.halmari@gmail.com ellahalmari.com

25

Project Title Sauna

Sauna culture in Finland can be confusing to foreigners, so I demystified the cultural rules surrounding this integral part of the Finnish way of life. This project sheds light on the importance of the sauna in Finland by creating a desirable print object that could be presented for sale both as a souvenir, or as a gift capitalising on the popularity of all things Nordic. The history of the sauna, do’s and don’ts, and key sauna vocabulary are all covered in an illustrated bilingual book and set of postcards, all of which are presented together in a box set.


hou

12 n

x

l

a

l

a

r

e

p

e

t

t

a

r

l

a l a

t l

e

t

e

a

r

t

l

r e

a

a

d

r

a

n

r

a

t

e

t l a

t e r

t

r h o u

2

r

te

n

in

t e

l a t e r l a

d

e

e t

a

p e c t e x e d r l a t e t e r

l

t e r l a t e r l a r l t e a l a

t i

t

t

a

l

l

e

e

t

a

n

i t e

r

l

l a t t e r e r l a l t e r l a t r l a e r t e l a

a

h

l

r

r

12

l

l a t e

a

t

r

r

1

l a t e r

l

a

more t ha 12 h o u n l a er ter r la lat

l a t e r l a t e r

l

ct

l

o

r t e

r t e

a

exp e

r e o t e r l a m t e r r l a e t e t r l a rl a t e r l a

l

rs

la

t h

l

a

r e

r

l

s r

l

ou

t h a n

er later

a

r

r

o

e

lat

t

u l

r

er

e

e

r

a

a

r

e

l

e

r

t

t

t

l

o

e a

r r

e

h e

e r l a t e r l a t e a t r l r l a t h a n t e

t

e

r

t

e e r l a t e r t l a a t r l

a

a

a

a

h

l

t

t

e

r

t

l a

rl

t

12

r

t e

l a t e

l a t e r

e r l a t

l a

t

e

a

r

l a t e r

la

e r l a t e r l a t e a t e r l r l t e t h a n a

h

c

a

e

e r a t rl

o

e

e

l

r e e r

t

e

m

t

e

l r

r

e

o

m

Project Title The Shipping Forecast

o

t

t

i n

t

r

e

e

t

e

r

r

t

a a

a

t

e d

26

l

la

p e c e x t

lat

s

l

t

r

la

e

r

than ore m 1 2 i n d n t e er late m r

er

t

e

er

Postgraduate Certificate Design for Visual Communication

t

c

Aga Jasko 07837 274425 agamjasko@gmail.com

l a

expecte 12 e x p d i s er late e

m

r

r

e

t

a

l

l

r

e

l l a t e r l a r t e e t e r l a t e r l r a a t a t r l

l

a

r

l

e t e r l a t e r l a r l t e a a t e r l a t l a l r l a e r t t e r l a e l a e t p e c t r x e r e e t e r d t l e t r a s a a l l l a i r t n e t e r l a t u e l a e r t t r l a a a l a t l a t e l

e

r

t

r

e

t

a

e

rs

‘The Shipping Forecast’ is the BBC Radio’s weather broadcast for the seas surrounding the British Isles. I wanted to capture the sonic beauty and mystery of the forecast through typography. As I did more research on ‘The Shipping Forecast’, I learned more about its history, sound, codes and symbolism and what it means to people all around the world. What seemed technical at first glance suddenly felt beautiful and enigmatic. Using experimental and semantic typography, I tried to capture the stormy, turbulent feeling of the forecast.


Alice Lovett 07876 594549 alicelovett@live.co.uk alicelovett.co.uk

27

Project Title Modernist London: Individual Dimensions

Modernist London: Individual Dimensions takes you on a journey to visit four modernist buildings built to meet the demands of the post-Second World War housing crisis. Each building is illustrated and presented from various view points, taking an architectural approach to the dissection of each property. Written commentary examines the political and social motivations behind the structures and the geometrical forms created. Produced using several different techniques, this publication gives a new perspective on the many individual dimensions.


Sarah Lu 07788 85099 Sarah.lu1202@gmail.com behance.net/sarahlu

Postgraduate Certificate Design for Visual Communication 28

Project Title Movement Art Is…

These are posters for ‘Movement Art Is…’, a fictitious dance event held over a day at the Roundhouse. The posters are centred around two dancers, Lil Buck and Jon Boogz, known for their unique dancing style that combines Memphis Jookin with other forms of contemporary and street dance. I conveyed the fluidity and energy of their movement through type that was distorted manually: once printed on a piece of paper, the piece of paper was wrinkled, then photographed. The treatment of the images followed a similar analogue process – albeit without the distortion – to add texture that contrasts with the type.


Paul Murdoch 07958 613055 pcmurdoch@gmail.com sirensmakesleep.com

29

Project Title The Recurring Sessions

‘The Recurring Sessions’ is an imagined music festival spanning seven days at the Barbican and featuring an eclectic line-up of seven artists, all unlikely to ever play one of their most revered albums for a live audience – whether it be from inter-band implosions, self-imposed exile or pure artistic stubbornness. This celebration of the long player record will be marked by a series of seven collectable posters, one for each night of the festival. Utilising set parameters to create a singular illustrative representation for each of the albums, they all share a unified visual grammar and strong typographic identity.


Donagh O’Malley 07786 945078 pencilrobot@yahoo.ie pencilrobot.net

Postgraduate Certificate Design for Visual Communication 30

Project Title Twenty Bridges or Twenty Two

This publication explores the structures that lay at the very heart of London, but are often overlooked: the bridges that span the Thames, which are vital to the movement of people and goods and were essential to the growth of the city into the capital that we recognise today. I took a journey along the length of the famous river, documenting as many bridges as possible that traverse the city’s river. The basis of this trail was formed around the famous poem ‘The River’s Tale’ by Rudyard Kipling. The outcome here is a documentation of the walk, and a visual representation of twenty bridges chosen along the way.


Xavier Pires 07788 065595 xavierpires@gmail.com

31

Project Title Grids in the Sky

While walking along the South Bank, I saw new architecture clash with old. The clash wasn’t ugly – in fact, it was beautiful. The mix of styles is pronounced in the UK for historical reasons like the Great Fire, the Blitz, and political ideology that prioritises building council houses as opposed to letting the private sector build them slowly. Along the South Bank, the Shard, the new addition to the Tate, and other buildings are changing the skyline but are also adding to the mix of architectural styles. From brick to concrete, and steel to glass, these buildings serve as man-made architectural fossils.


Anna Pirone 07746 383021 annarei90@gmail.com

Postgraduate Certificate Design for Visual Communication 32

Project Title Looking Through London’s Keyhole

For my Structure and the City project, I looked at London from the structure of the city itself. Windows and iron grates were the perfect picture frames for my project. Looking at things from a different perspective can always show us a different reality. Indeed, I am not a big fan of the city of London, so I decided to try to look at this city from a different point of view. The final outcome is a perfect bound A3 publication, featuring full-bleed photos with minimal text in order to retain the reader’s focus on the large-scale images themselves.


José Gustavo Cal 07732 427783 josegustavorcal@gmail.com behance.net/josegustavocal

33

Project Title The Design Superheroes

In early March, I was browsing through Netflix and ran into a suggestion on a new documentary series on designers called ‘Abstract: The Art of Design’. After watching the first season and developing a strong appreciation for the show and its real-life characters, I realised it would also be a great opportunity to bring to life the transformative power of design. ‘Abstract’ would be my client, the product I would redesign the brand for. Studying the show, its concept, and its narrative, I developed a brand personality, and generated the concept of the ‘design superheroes’, which reflected the brand’s overall spirit.


Danielle Saunders 07887 532133 danielle.saunders2@aol.co.uk cargocollective.com/ daniellesaunders

Postgraduate Certificate Design for Visual Communication 34

Project Title The Revival of AP

My project was inspired by the past lives of Alexandra Palace, a grand historic venue in north London perched atop its very own hill. The passage of time has taken its toll on building, with 40% of it still derelict, including the Palace’s most historic spaces: the Theatre and the BBC Tower. My book tells the story of the building’s current 28 million pound restoration project, its unique past life as a German internment camp, and the two major fires it suffered through. I used a combination of photography and illustration to highlight architectural features, creating a publication that revives the lost identity of the ‘People’s Palace’.


Henrietta Seregi 07449 690028 henrietta.seregi@gmail.com henriettaseregi.wix.com/portfolio

35

Project Title SKTR

‘SKTR’ is a unique skateboarding apparel brand that connects with youth culture to promote self-expression and authenticity. The brand has deep roots in both action sports and street culture. ‘SKTR’ is built on promoting pros and empowering amateurs. We design products with the features and functionality an athlete requires – but with an edge you can’t find anywhere else. All products incorporate thermocromic ink that changes colour when exposed to heat. Part of the project outcome was a brand book and an exclusively designed skateboard with thermochromic ink and the logo spray painted onto it.


Lily Thomas 07852 253366 lily.valentine.thomas@gmail.com cargocollective.com/lilythomas

Postgraduate Certificate Design for Visual Communication 36

Project Title Spring

My passion for food and desire to celebrate the often overlooked beauty and craft that lies behind British seasonal produce led me to design this book, a beautiful, tactile object that reflects the artisanal at every stage of its design and production. The book pairs the stories and unique history behind the cultivation of a selection of spring produce with delicate illustrations inspired by the imagery of fruit crates. I have kept the typography classical and quiet and bound the book with a hard case binding using a linen bookcloth and foil blocked title, all produced by hand. I hope it inspires people to support British growers.


Roschelle Yacas 07411 770580 roschelle.yacas@icloud.com roschellegarcia.com

37

Project Title Let’s Talk

‘Let’s Talk’ is a campaign strategy promoting mental health dialogue amongst young adults. Comprised of a conversation toolkit, the strategy harnesses the interactive and tactile properties inherent to the medium of paper. An interactive card pack provides conversation starters for discussing mental health. The strategy advocates for discussion with a lighthearted approach, which in turn encourages individuals to engage in selfreflection and peer support. The interactive element aims to bring young adults together and nurture a supportive and caring environment. Overall, Let’s Talk hopes to relieve some of the stigma typically associated with mental health discussions.


Both the Postgraduate Certificate (part-time) and Postgraduate Diploma (full-time) undertake the first three units: Unit 1 Research and Develoment; Unit 2 Design Resolution; and Unit 3 Professional and Academic Context. Whilst the Certificate finishes at this point the full-time Postgraduate Diploma continues with three additional units: Collaborative Unit; Unit 4 ProjectCentred Exploration and Analysis; and Unit 5 Project Realisation and Report. Currently Unit 4 is the proposition for a Unit 5 major project theme.

38


Postgraduate Diploma Design for Visual Communication

39


Miriam BrĂźggen 07494 334833 miriam.brueggen@gmail.com cargocollective.com/ miriambrueggen

Postgraduate Diploma Design for Visual Communication 40

Project Title Good Things Come To Those Who Wait

My project aims to make the value of contemporary letterpress craft visible and understandable to potential buyers, engaging them with a print product that is technologically outdated but of great value for our culture and society. With a pop-up exhibition, people will be introduced to letterpress and subtly encouraged to learn more about it. The visual language of the exhibition links letterpress with interests like photography, lifestyle and vintage to make use of the positive feelings people inherit for their hobbies. Finally, elements of the exhibition evoke the desire to be purchased – thus accomplishing the objective to encourage potential buyers to purchase their first craft object.


Aradhana Chand 07397 655592 Aradhana.chand.65@gmail.com behance.net/aradhanachd455

41

Project Title The People’s Fridge

‘The People’s Fridge’ is London’s first community fridge set up in Brixton, aiming to curb food wastage by redistributing food. The fridge needed a better visual identity to connect with the Brixton community, so I developed a vibrant identity with huge, halftone food imagery. I revamped he fridge’s doors with a vinyl transparent window film that has the logo cut into it and came up with a solution for wayfinding by creating an installation of screenprinted wooden boxes.


Camilla Douglas 07985 5696275 Camilladouglas@hotmail.co.uk cargocollective.com/ camillagdouglas

Postgraduate Diploma Design for Visual Communication 42

Project Title Tactile Icons

My project is a set of tactile icons designed to help the visually impaired find their way through King’s Cross Station. I was inspired by the tactile paving you see in the street used as a guidance system for those with visual disabilities; I liked the permanence of this and its simplicity and functionality. During my experimentation with material, I aimed towards making something that could be a permanent fixture in the environment in order improve accessibility and convenience. Simplicity was key in ensuring a succinct readable tactile surface, so I developed a style that is both minimal and tactile, working towards the idea of functional aesthetics as a social and design aspiration.


THERE IS AN ALTERNATIVE:

BAMBOO SOFTER STRONGER STAYS CLEANER MORE AFFORDABLE

Claudia Farre de la Torre 07500 928186 farreclaudia@gmail.com

43

Project Title Reality vs Alternative

Despite being one of the most commonly used textiles, cotton farming is one of the most environmentally aggressive fabric industries in the world. Releasing 16% of global pesticides, it creates soil degradation and large amounts of water wastage. However, there is an alternative to this toxic fabric – bamboo fabric. This textile has more positive properties than cotton but is very similar in terms of appearance. This project encourages fashion students, the future of the industry, to use bamboo fabric in their designs and make them aware of the unsustainability of cotton farming.


Odile Forget 07375601057 odile.forget93@gmail.com behance.net/odileforge2016

Postgraduate Diploma Design for Visual Communication 44

Project Title What About Art?

‘What About Art?’ is an interactive children’s book that introduces children to three of the elements of art. The book is a first edition of a series. It focuses on points and lines, shapes, and forms. Theoretical knowledge about the three elements is represented in a visual and understandable way, while handson games offer the possibility for children to practice. Geometric stamps are a complementary tool to create a unique and playful experience. The book aims to enable children to express their creativity through creating, exploring and discovering art.


Rhea Goyal 07460 031996 rheagoyal@gmail.com behance.net/rheagoyal2af2

45

Project Title The Vegetarian Concept

‘The Vegetarian Project’ is a concentrated online awareness movement. It aims to create a trickle-down effect on the perception of young individuals towards vegetarianism, meat eating and environmental balance. The core concept integrates three functional aspects of design and branding. The online sphere is made up of a website and social media pages. The offline sphere consists of creating awareness through the sticker-based microcampaign found in food packaging, while the third is integration of the cyclic communicative process. All three factors converge together to influence change in behavior by using conscious appeals, showing how every individual’s meal makes a difference.


Spun Inthawong 07460 662955 spun.inthawong@gmail.com behance.net/ spuninthaw082a

Postgraduate Diploma Design for Visual Communication 46

Project Title Thai Woven Bags

Woven products represent the culture and character of Thailand in many ways, but these traditional items, made by local craftsmen, are often considered cheap, unimportant items. My project is an exhibition designed for the young generation of people in Bangkok, Thailand who don’t recognize or engage with these products. The young generation prefers to use international fashion brands to represent themselves, but this exhibition would be the starting point for their recognition of their own culture.


Fig. 6

Surgeon’s bag, 1800s, and instruments, 18

Laura James 07522 989480 lauramargaretjames@gmail.com cargocollective.com/laurajames

47

Project Title The Gordon Museum of Pathology

My project shines a light on a medical museum collection that is not open to the general public. Having visited it previous to the course, I had thought it was a loss to have this unique medical history collection locked away. Now, three highlights of the collection are accessible to all, in a three volume publication with presentation slipcase. Subjects are as varied as the history of plastic surgery to a mummified man created in 2011. Bookbinding, materials and historic imagery guide the reader through three distinct stories, and through the use of experimental layout and play on the visual language of modern medicine, the museum is presented as both of historical and contemporary significance.


Ana Paula J P Dias 07572 116345 ana@anapdias.com portfolio.anapdias.com

Postgraduate Diploma Design for Visual Communication 48

Project Title Stress and Anxiety Management for UAL Students

My project is composed of four moving image pieces and four posters showcasing UAL’s Student Services for Mental Health issues. The idea is that the movies are on UAL website and social media channels such as Instagram, Facebook and Twitter. They can even be used on big projections in special events throughout the year such as the Mental Health Week events and so on. I expanded the outcome from moving image pieces to a series of posters to be spread over all six UAL colleges.


Sui Ki Law 07455 694953 lawsuiki@hotmail.com the-dots.com/users/sui-ki-law vimeo.com/user62398514

49

Project Title The International Criminal Court

My project makes information about ‘The International Criminal Court’ (ICC) more accessible to victims in Kenya. There are often communication issues between victims and the court, which is located in the Netherlands. In order to get in touch with people in Kenya, the ICC created the Outreach Unit, which delivers general information about the court through several means, such as publication, role play and an SMS platform. To complement the existing communication tools, I created an offline application. It allows progressive disclosure of information and enables people with lower literacy levels to understand difficult concepts through audio-visual materials preloaded in the application.


Libo Li 07546 263244 798451642@qq.com behance.net/798451642wendy

Postgraduate Diploma Design for Visual Communication 50

Project Title Simple Choir

Due to their lack of basic music education, amateur students in Chinese choirs often feel anxious about their ability to learn and perform choral compositions. This project aims to use abstract images to help choir members learn music theory and practice singing. Simple shapes illustrate the abstract concepts of breathing, vocal registers and intervals according to the audience’s capacity for understanding. The outcome is a study app, using interactive images to depict the singing knowledge. The moving images guide users to practice singing. This project represents rich potential in the abstract shapes for better understanding of learning music theories and singing technique.


Nian Liu 07454 552922 349306255@qq.com

51

Project Title Social Media Checklist

In today’s information age, social media can be a powerful tool to build a connection between people and organizations regardless of distance or time. It is not just efficient, cheap and entertaining, but also good for promoting oneself. Services are not just simply platforms, they are an invaluable asset opening doors to a bigger digital world. To achieve your professional goals, it is important to consider how to build your personal identity and who you want to engage with. Using social media strategically is everything.


Kanika Mall 09748 003943 kanikamall94@gmail.com behance.net/kanikamall1d72

Postgraduate Diploma Design for Visual Communication 52

Project Title Philately

Philately, the collection and study of postage stamps, was known as the ‘king of hobbies’ decades ago, until emails and text messages replaced the art of traditional letterwriting and led to the decline in the use of postage stamps. Stamps commemorate symbolic events and subjects and serve as an integral identity for the nation by preserving history. However, the youth today consider these miniature pieces of art as an alternate form of investment. This project aims to explore the beauty of Indian postage stamps, emphasizing the cultural legacy they hold. The output of the project is a celebratory pack comprising of a publication, postage stamps and stationery set that commemorate India’s annual Philately Day, celebrated on 13 October every year.


Xiaoyi Ma 07706 929275 littleart@live.cn

53

Project Title Food Waste Campaign

The issue of food waste has existed for years, yet it continues to be a major problem in contemporary times. In recent years, people learn about food waste through the media, and a great number of campaigns and activities have been launched to solve the problem. This campaign aims at advocating reducing food waste from an individual aspect: buying less. Through three posters, I inform my audience of three benefits of buying less (keeping food fresh, saving money and eating variety), persuading them to change their buying habits.


Suze Myers 07873 901288 suzemyers17@gmail.com suzemyers.com

Postgraduate Diploma Design for Visual Communication 54

Project Title Women’s Lib

70% of design students in the UK are women, yet there’s a dearth of female representation in the industry. My project aims to raise consciousness about this gender discrepancy in the place that students spend a majority of their time: the library. ‘Women’s Lib’ is a toolkit for the feminist activist, with bookmarks, recommendation cards, posters, and more that can be used to intervene upon the male-dominated library collection. The official toolkit is screenprinted and comes in a bespoke canvas backpack, but a DIY version of the kit can be downloaded online at womenslib.com.


Caroline Pullen 07929 598545 caroline.pullen@gmail.com cargocollective.com/carolinepullen linkedin.com/in/caropullen/

55

Project Title In a Positive Light

Incidence of dementia in the UK is rising, but we now know that good environmental design can help people with dementia keep safe, independent and in their own homes for longer. Stirling University produces a series of researchbased guidance publications on what design can do to help. However, various aspects of these publications, including poor-quality photography and medicinal colour palettes, mean these publications can feel institutional and uninspiring to people using them. My project presents to the University of Stirling the idea of screen-based design guidance as an alternative. Moving guidance onto the screen means information is closer to hand for the users, easier to update and more open to creative interpretation.


Madhuri Rao 07919 407203 madhuri273@gmail.com cargocollective.com/ raomadhuri

Postgraduate Diploma Design for Visual Communication 56

Project Title Experimental Examples: Sustainable and Vegetable Based Inks

My project is about sustainable printing methods. I designed a sustainable book comprised of botanical designs, screenprinted with self-made vegetable ink. The book allows the reader to contemplate sustainable design and appreciate the advantages and implications as well as its natural potential to create good meaningful designs. The book talks about the five reasons why we should consciously use vegetable based ink and opt for sustainable printing methods. I used natural and chemical-free ingredients to create the ink to screenprint, while the images of the flowers were taken at local markets in London to capture the vibrance and uniqueness of the plants.


Joshua Roy 07814 568832 joshua.roy157@gmail.com joshuaroy157.myportfolio.com

57

Project Title Pause

Studies have found that susceptibility to fake news is becoming endemic in high school students, following the growing use of unregulated social media platforms as primary sources of information. How do we combat this? This journal gives a tenminute short course demonstrating why it is important to check for evidence. The concept is simple: design a smart, authentic looking publication comprised of madeup facts set next to high-end photography, giving the bogus information an authentic veneer. This is then revealed to the reader, encouraging them to pause and reflect on the importance of questioning what one is looking at, regardless of authenticity.


Shreya Singal 07460 132973 shreyasingal9@gmail.com cargocollective.com/ shreyasingal

Postgraduate Diploma Design for Visual Communication 58

Project Title Celebrating India – The Evolution of Banknotes

‘Celebrating India’ is a publication that portrays the evolution of Indian banknotes through art, suggesting that banknotes are more than just transactional tools. The publication’s visual elements communicate India’s characteristics and values; the illustrations I developed during this project are inspired from the style in which the numbers are printed on the current Indian banknotes.The publication is divided into four sections, each marking a significant historic event in the Indian history, and aims to make people appreciate banknotes for their national importance rather than their monetary value.


JuneMai2017 Sung Hee Sommer 07599 065245 iammai@iammai.dk cargocollective.com/ iammaisommer

Project Title ENO Secret Operation

Day after day, week after week, month after month, she waits for him.

If you 59 want to be a paticipant go to www.eno-secretoperation.org

My project is a collaborative event called ‘ENO Secret Operation’, arranged by the English National Opera as a means of introducing a younger, more adventurous audience to opera. The project presents Madame Butterfly in an alternative and unpredictable environment – a sushi restaurant. Participants would receive an invitation by mail, and the event would feature a collectable book with a brief history of the ENO, the story of Madame Butterfly, and the night’s menu. I hope this event can create a new approach to opera and will engage the next generation to experienceShe opera as that a lo knows a great alternative to other kinds as perfect as hers, of entertainment.

as pure and power could never fail to b him back, across th ocean. He will retu She is sure he will. One fine day.


Peiling Song 413806842@qq.com

Postgraduate Diploma Design for Visual Communication 60

Project Title The Miao Embroidery Culture

My project is an app introducing the embroidery culture of the Miao to young audiences looking to learn more about Chinese ethnic cultures. The app is divided into three parts. The first is a welcome animation and an introduction page aimed to introduce the user to the Miao culture. The second part is an introduction to the main embroidery pattern. In this part, I organize the Miao embroidery patterns into three main categories: animals, plants, and geometric shapes. The final part of the app is a game where users create their own pattern.


Helin Ulas 07397 133931 s.helinulas@gmail.com helinulas.info

61

Project Title Disconnect

‘Disconnect’ is an audiovisual piece, celebrating the purest state of sound and form. It creates an alternate space where one could enjoy the poetic and sensational relationship sound and form embodies and invites the viewer to experience music in a visual manner. The monochrome design strips the possibilities of colour, allowing the viewer to focus only on abstract forms and sound. The audiovisual experience highlights the natural dynamic forms and sound. The abstract state of sound takes a visual form with abstract shapes, each unique visualisation associated with an instrument used in the musical piece.


signal to road users in front or those who can’t see you

ride loud

attach front and rear lights. always carry a spare pair

Alice Vulliamy ride at night 07706 935463 alicevulliamy@gmail.com cargocollective.com/alicevulliamy

Postgraduate Diploma Design for Visual Communication 62

Project Title Cycle Bible

As a Londoner and an inexperienced cyclist, I have often wondered how confident cyclists ride with such ease in a city where the odds are stacked against them. What do they know that I don’t? ‘Cycle Bible’ helps inexperienced cyclists like myself by offering tips about good cycling practice. It comes as collectable set of lasercut, triplexed cards presenting practical information based on interviews with more experienced cyclists. They are designed to intrigue, encourage and inform through abstract photography and experimental typography.


Yuanjin Wu 07749 781064 yuanjinwu817@gmail.com cargocollective.com/ mirandacollective

63

Project Title Help The Homeless

Homelessness is an urgent problem in the UK. Ending homelessness is the ultimate aim for some homeless charities, but in the long run, helping homeless people in a practical way is more effective than giving money to larger organizations. This project aims to encourage the public to help these people in a practical way. The outcomes for this project are a series of posters and a website. The poster aims to catch people’s attention and improve their awareness, while the website aims to provide practical advice.


Gewen Xu 07561 524907 g.xu0220161@arts.ac.uk

Postgraduate Diploma Design for Visual Communication 64

Project Title Write Again

With the progress of the world, the development of society and the proliferation of foreign culture, Chinese traditional culture has started to fade, with Chinese citizens becoming indifferent toward or even forgetting cultural traditions. People used to use pinyin type Chinese characters and my exhibition will give people a place to learn and understand the beauty of this traditional culture and art.


Shengtao Zhuang 07511 729152 z.shengtaooo@gmail.com cargocollective.com/shengtao

65

Project Title Words to Speak and Sing

The project explores how the typographic interpretation of song lyrics can promote engagement with Mandarin pop music culture to an audience in London. While the language barrier certainly exists, I believe that language does not have to impede people listening to music. I used Chinese characters from the lyrics in the Mandarin songs to design a moving image, attempting to attract an audience that could then engage with the Mandarin songs.


Colophon

Layout

Miriam Brüggen

Paper

Provided by G F Smith

Co-ordination

Mai Sommer Miriam Brüggen Paul Murdoch

Paper: Cover

Copy Editing

Suze Myers

Print

Tony Yard

Colorplan 270gsm, in Turquoise Sorbet Yellow Stone Powder Green Lavender

Finishing

Scott House Rahel Zoller

Letterpress

Christian Granados Marta dos Santos

Paper: Text

Fenner Starfine White 115gsm

Course Leader

Tony Pritchard

Foil

Foilco

Lead Tutor and Joint Co-ordinator

Henrietta Ross

Typography

7.5pt on 9pt Helvetica Neue 55 and 85

Lead Associate Lecturer

Benedict Richards

Sponsors

Heidelberg UK, Fuji Film, G F Smith

Associate Lecturers

Margot Lombaert David Daniels

Special Thanks go to

Talks and additional sessions

Kelvyn Smith, Kate McLean, Kerry William Purcell, Stefi Orazi, Peter Chadwick, Tom Hornby, Geoff White, Geoff Haddon, Lucienne Roberts, Hamish Muir, Valentina D’Efilippo, Mark Pawson, David Bennett, Philippa Thomas Peter Carr, Daniel Shannon, Emily Fox, Carolina Magro, Susanna Foppoli, Nick Hearne,

Alyson Hurst of G F Smith has been our paper consultant for many years. Alyson makes annual presentations to both courses; kindly supplies samples; and has negotiated us the best deal for the end of year 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.

66

Gmund Cotton 600gsm, in New Grey

Programme Director David Sims, the college administration and all graduates who have supported the course over the year.

London College of Communication Elephant & Castle, London SE1 6SB @LCCLondon arts.ac.uk/lcc


Design for Visual Communication 2017  

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

Design for Visual Communication 2017  

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

Advertisement