Archive for the ‘Student’ category

160 at LCC: Round-Up

LCC’s London Design Festival 2014 exhibitions are currently open under the banner ’160′: ’50 Years of Illustration’, ‘Alan Kitching and Monotype: Celebrating the Centenary of Five Pioneers of the Poster’ and ‘Stereohype 2004-2014′.

All three exhibitions opened on Saturday 13 September and run until Friday 31 October (‘Alan Kitching and Monotype’ finishes earlier on Thursday 16 October).

Launched officially on Thursday 18 September, the shows drew a huge crowd of design enthusiasts and experts to the shared Private View, and were recommended by everyone from the Guardian to Creative Review and House & Garden.

50 years (58)

’50 Years of Illustration’, image © Lewis Bush

’50 Years of Illustration’ accompanies a new book of the same name by Professor Lawrence Zeegen, Dean of the School of Design, and looks back at contemporary illustration’s impact on design across the past five decades.

‘Alan Kitching and Monotype: Celebrating the Centenary of Five Pioneers of the Poster’ marks 100 years since the birth of five graphic design giants: Tom Eckersley, Abram Games, FHK Henrion, Josef Müller-Brockmann and Paul Rand.

100 years (13)

‘Alan Kitching and Monotype’, image © Lewis Bush

All were known for their iconic poster designs, and this exhibition juxtaposes their work with original pieces created in the same spirit by Alan Kitching and Monotype.

The show was accompanied by ‘Five Lives in Posters’, a fascinating panel discussion between key figures in contemporary graphic design in which the five subjects of the exhibition were remembered.

The College welcomed panelists Alan Kitching, Tony Brook, Naomi Games, Jessica Helfand, Dan Mather and, via the miracle of Skype, Lars Muller, in a packed event chaired by John L Walters.

Finally, ‘Stereohype 2004-2014′ celebrates ten years of the London-based graphic art label and online boutique Stereohype, sister company of design studio Fl@33, and their button badge collection.

Just a tiny part of Stereohype's stunning button badge exhibition, part of #lcc160 - opening soon. #badge #design #lcc #exhibition #stereohype #ldf

This exhibition also marks the fact that the collection reaches its 1,000th button badge this month.

10 years (15)

‘Stereohype 2004-2014′, image © Lewis Bush

Visit the Upper Street, Lower Street and Well Galleries soon to see these amazing shows for yourself if you haven’t managed to catch them already!

Read more about ’160′ at LCC

Read our Storify of the shows

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Exploring London Life with LCF

Calling all #LCFfreshers! Over the next couple of weeks we want to make you feel at ease in your new London university home… It’s time to explore the capital in style with #LondonLifeLCF.

Whether you’ve moved from near, far, or not at all, we understand that starting a new life at university can be very overwhelming.

But fear not, LCF is here to help! We’ve taken it upon ourselves to get you even more excited about your time here, by giving you an Instagram tour of our six different buildings and their surrounding areas. From Shoreditch to High Holborn to Oxford Street, we will be giving you the inside scoop of each site, where to go, what to do, what to see, and how to get there.

If you are already a Londonite about town, we would love to hear your suggestions. Take some pictures of your own and Instagram or tweet us using #LondonLifeLCF!

The post Exploring London Life with LCF appeared first on LCF News.

MA Graphic Design graduate works on V&A ‘Disobedient Objects’ exhibition identity


Disobedient Objects Poster, 2014.

Marwan Kaabour, an MA Graphic Design graduate, has just completed work on the V&A’s current exhibition ‘Disobedient Objects’. With a history in political design, Barnbrook Design, where Marwan works, was commissioned to design the visual identity, exhibition graphics, book and marketing campaign for the exhibition.


Disobedient Objects Exhibition, 2014.

We caught up with Marwan to find out more about the design process and inspiration.

“The exhibition identity was centred around a prominent theme of the exhibition; the ingenious transformation of everyday objects into weapons of social change. Intrinsic to our thinking was a hope that the Disobedient Objects will be viewed not just as activist objects but as thoughtfully designed objects.


Disobedient Objects Book, 2014.

“In the spirit of the exhibition, the book designed to accompany the exhibition surpasses conventional definitions of an exhibition catalogue. As well as a series of how-to guides, the book contains six essays and round-table discussions that deal in rich detail with the themes highlighted by the exhibition. The essays are illustrated with images of the objects in context.

“Each essay opens with a list of (disobedient) objects that are subject to the same call to arms as the book cover and posters. The same objects are underlined throughout the book, offering an alternative reading of the texts; disobedient quotes that crudely interrupted the text. In a spirit of openness, the book features an exposed spine thereby revealing its own construction and highlighting a red thread that runs throughout.


Disobedient Objects Invitation, 2014.

“The posters take on the technical language of a user manual with hope to empower the audience and have them create disobedient objects of their own.”

Read more about MA Graphic Design.

Read more on Marwan’s work on this project.

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Drawing resurgent as sound artist wins Jerwood Prize

Alison Carlier's sound work
The announcement of Alison Carlier’s sound work Adjectives, lines and marks as the winner of this year’s Jerwood Drawing Prize affirms the resurgence of exciting contemporary drawing practice in Britain. Marking the first ever sound-only work to win the prestigious prize, Alison’s work was selected by judging panel Gavin Delahunty, senior curator of contemporary art, Dallas Museum; Dr Janet McKenzie, author and co-editor of Studio International; and artist Alison Wilding RA, whose remit was to “champion excellence and promote and celebrate the breadth of contemporary drawing practice within the UK.” Alison graduated from MA Drawing at Wimbledon College of Arts in 2013.

Adjectives, lines and marks is formed of Carlier’s voice reading a description of a Roman pot found in Southwark, close to the site of the Jerwood Space; its source is a reference book held at the Museum of London Archive Roman Southwark Settlement and Economy – excavations in Southwark 1973-91Mother No.O and Wait a minute, it’s the truth and the truth hurts XIV, the two winning student prize works by Wimbledon MA Fine Art alumna Ara Choi and Central Saint Martins BA Fine Art alumna Annette Fernando respectively, see UAL graduates winning three of the four prizes for 2014, the twentieth anniversary of the prize.

Speaking after the announcement, Alison Carlier says: “Drawing seems to be in an exciting position at the moment; on the one hand working across media such as audio/visual and performance whilst the 2D surface continues hold great potential. Drawing is undergoing a resurgence, perhaps because  at it’s root it is a shared practice; sculptors preparatory sketches, and the close alignment of drawing with printmaking, for example. Making drawings is familiar to artists across the board; it is a known and established discipline. But further than that, the quintessential nature of drawing; its proximity to thought, its directness, and often open-endedness enables it to create a discourse across and between media.  Drawing Sculpture recently shown at The Drawing Room is an example.”
Annette Fernando, Wait a minute, it's the truth and the truth hurts XIV, 2013. Jerwood Drawing Prize 2014. Photography: Benjamin Cosmo Westoby.

“Today, when I use the word drawing I am thinking of a two dimensional, not necessarily hand-made image, executed with a view towards facilitating the understanding, design and/or explaining a multi-dimensional event” comments UAL’s Chair of Drawing Professor Stephen Farthing. “I suspect good drawing, like good writing, reduces a complex state of affairs to a simplified, elegant and intelligible image”

He adds: “The image can have been drawn on just about any substrate (working surface) that will receive a line: from the back of your hand or an envelope, to a concrete wall. It can be drawn with anything capable of making a mark on your chosen substrate: from a line made with the heel of your shoe to an area of tone made by a cast shadow, so drawing is more than paper and pencils. A possibly peripheral, but important to me aspect of drawing, is the degree of flux the drawing process allows. In a drawing every line is provisional until the drawing is finished, only at the end is the event, is it ‘carved’, so to speak ‘in stone’. The greatest drawings are the ones that have the ability to communicate their content without the help of either the written or spoken word. Drawings of this type are, however, few and far between, as most drawings are dependent to a degree on either oral or written support.”

Reflecting on the contemporary relationship between drawing and sound, UAL’s Chair of Audio Culture and Improvisation Professor David Toop says: “There are close links between drawing and sound art. A lot of sound artists and improvisers would be happy to say that some part of their practice follows Paul Klee’s famous maxim of ‘taking a line for a walk’. To pick one example, Christian Marclay’s work with records and turntables began as a form of inscription, of following the lines cut into vinyl records. There is also the question of scale. Drawing tends to be intimate and close and sound art, particularly environmental sound recording, is predominantly an exploration of detail within the sound sphere or of auditory phenomena close to the ear. But drawing is also more in tune with the sketch, the transient marks that make no claim to permanence or greatness and working with sound and listening always has some sense of that transience, simply because sound is fleeting.”
Ara Choi, Mother No.0, 2013. Jerwood Drawing Prize 2014. Photography: Benjamin Cosmo Westoby.

Drawing has long been championed by UAL. Hearing the news of the prize winners, Wimbledon College of Arts’ Dean Simon Betts comments: “I am absolutely delighted that Alison and Ara have been so successful at the Jerwood Drawing Prize. By winning these prizes their commitment to the practice of drawing, and the quality of their work is given due national recognition.

“Contemporary drawing is now a multi-dimensional, multi-media and cross disciplinary practice. What Alison’s sound piece achieves is a new sense of materiality for drawing. Her work in the Jerwood Drawing Prize poetically, ‘sketches’ and articulates a space for the ‘viewer’ where the drawing and articulation of the object is completed by the viewers visualisation responding to a spoken analysis of objects. There is a long and profound relationship between drawing and writing, but what Alison’s piece takes further is the creation of an interactive space where the drawing takes place between the spoken word and the viewer/listener. At its edge, the listener also makes a drawing. One of drawings’ purposes is to test the limits of visualisation, ideas and materiality, and this Alison does; she has made a multi-dimensional drawing.

“At Wimbledon College of Arts we are developing a new Centre for Drawing that will build on Wimbledon’s rich heritage of engagement with the practice of drawing, and one that will encourage research into new forms, materials and purposes of drawing. The notion of a centre implies that a thing or idea is at the heart of other things and ideas. At Wimbledon College of Arts we are exploring this new ‘centre’ for drawing as being the College itself; that is to say drawing situated at the heart of what we do, and extending outwards to create links and relationships with other practitioners, ‘centres’ and forums of contemporary drawing.

The last five years has seen debates around what is drawing, and what is a good drawing inform practice, research and pedagogy. I want to see a ‘Centre for Drawing: Wimbledon’ that develops those ideas, investigates new forms, instigates research and shapes pedagogy. How we do that may well be on the basis of a more ‘viral centre’ that shapes itself dependent on shifting discourses and new forms of practice. However, while this more fluid notion of a centre for drawing should remain responsive and generative, it is because we believe that drawing remains at the centre of what we do as makers.”

Of her time at UAL, Alison says; “I studied MA Drawing at Wimbledon with Michael Pavelka,  which allowed me to push my ideas. The course is now led by Tania Kovats. As her work is at the forefront of  contemporary drawing practice, she is ideally placed.”

The Jerwood Drawing Prize is on show  until 26 October at Jerwood Space, read more on the Jerwood website

Listen to an extract from Alison’s work on the Jerwood SoundCloud

Read more about UAL’s Chair of Drawing on the UAL website

Read more about UAL’s Chair of Audio Culture and Improvisation on the UAL website

Search drawing courses at UAL

London Design Festival Insider’s Guide – Lawrence Zeegen

Michael Anastassiades lighting
With over 300 events at London Design Festival, UAL’s design experts share their insights into which exhibitions are unmissable. Here, Professor Lawrence Zeegen, Dean of the School of Design London College of Communication, lists his top five.

1. Global Design Forum
Thought-leadership in design exploring the role of design and it’s impact in economics, politics and education. Yesterday’s lecture by info-graphix expert David McCandless was inspiring.
Read more on the LDF website

2. Michael Anastassiades Open Studio
A presentation of a lighting installation. Michael taught many years ago on Camberwell’s BA (Hons) Graphic Design course when I was course leader. Amazing work.
Read more on the LDF website

3. Digital Design Weekend 
A weekend of events exploring physicality and digital value. Installations and speaker events.
Read more on the V&A website

4. designjunction
Nothing, for me, beats the level of ambition here – not exactly pop-up but more a huge installation. Last year was great, this year even bigger and better.
Read more on the designjunction website

5. D&AD Annual launch/Bl-nk
An interesting party. As a D&AD trustee I have a clear interest obviously but I’d like to know who booked the human beatbox boy band…? And why.

And finally…

#160 at LCC
Of course. Included is launch and exhibition of my latest book Fifty Years of Illustration (Laurence King Publishing). Promises to be a great night.
Read more on the LCC website

See our report on UAL’s London Design Festival highlights

Read Rebecca Wright’s Insider’s Guide

Read Maiko Tsutsumi’s Insider’s Guide

Read the full London Design Festival programme

Search design courses at UAL


London Design Festival Insider’s Guide – Rebecca Wright

Ekaterina Polikarpova in Restless Futures
UAL’s design experts reveal the inside track on what not to miss at London Design Festival. Here Central Saint Martins’ Rebecca Wright, Programme Director of Graphic Communication Design shares her top five.

1.Restless Futures 
“This exhibition features the work recent CSM graduates from across the design disciplines. Provocative, innovative and resourceful, the imagination and innovation on display make an optimistic case for the central role of design in shaping our future.”
Read more on the LDF website

2. Found in Translation 
“This show combines two of the most exciting things about LDF – the opportunity to discover design in new environments and to see the best work from young designers from around the world. Focusing on cultural diversity in the age of globalisation, it is curated and created by young Japanese designers based in London, looking at differences between the two islands.”
Read more on the LDF website

3. Disobedient Objects 
“This is a must see for art and design students. A powerful exhibition foregrounding the role of objects in protest, political activism and movements for social change.”

4. Off the grid: A Superpowered Look at Superstudio 
“This is one for architects and graphic designers – textiles based upon the grid motif championed by radical architects Superstudio, interrogating their theory of the grid as anti-design. Bold and beautiful, the collection is produced by Darkroom, the design shop founded by CSM Graphic Design alumni Rhonda Drakeford.”
Read more on the LDF website

5. 50 Years of Illustration
“Illustration is so often underrepresented at LDF and this is the show to put that right. Packed with examples of ‘the people’s art’ from across the last five decades, this show puts illustration firmly on the map and includes work that ranges from album covers to poster design and postmodernism to punk rock.”
Read more on the LDF website

See our report on UAL’s London Design Festival highlights

Read Sadhna Jain’s Insider’s Guide

Read Maiko Tsutsumi’s Insider’s Guide

Read the full London Design Festival programme

Read Sadhna Jain’s Insider’s Guide

Read Maiko Tsutsumi’s Insider’s Guide

Search design courses at UAL

London Design Festival Insider’s Guide – Sadhna Jain

Alan Kitching and Monotype Celebrating the centenary of five pioneers of the poster
UAL’s design experts share their insider’s guides on which of London Design Festival’s 300 events and exhibitions to add to your do-not-miss list. Here Sadhna Jain, Course Leader, MA Graphic Design Communications, Chelsea College of Arts, unveils her top eight events:

1. Data Flags, Fabio Lattanzi supported by Bare Conductive
“A generative data driven sound installation where large scale screen-printed reactive surfaces explore the invisible patterns of financial algorithmic trading.”
Read more on the LDF site

2. Alan Kitching and Monotype
“Work from print legend Alan Kitching’s 50-year career, including a detailed look at a recent collaboration with Monotype.”
Read more on the LDF site

3. The Intertidal Cinema
“The Intertidal Cinema attempts to transform the tidal creek of Deptford in London into a social space. A film tells the narrative of place through a conversation with the architecture itself to create a portrait of the urban landscape through the sites connected to how Deptford developed as a dock.”
Read more on the LDF site

4. Tooled up
“A group exhibition celebrating creativity, craft, inspiration and skill which sees artists, illustrators and designers take a recognisable tool of craft and transform it into a unique form.”
Read more on the art and graft site 

5. Designing Polska
“An overview of the best Polish graphic design and illustration portfolios. The unique talent and distinctive styles of well-known Polish artists create a complex image of contemporary Poland.”
Read more on the LDF site

6. London Art Book Fair / Unbinding the Book
“The Whitechapel Gallery presents the best in international contemporary art publishing.”
Read more on the Whitechapel site

7. Harriet Anstruther Studio Revealed
“Showcasing art and products that works around the themes of identity and privacy, and what spaces and objects say about their owners.”
Read more on the LDF site

8. Objects Sandbox Showcase
“An exhibition of new products that explore possible experiences within the Internet of Things, developed by designers including Uniform, BioBeats, Kinneir Dufort and Play Nicely.”
Read more on the LDF site

See our report on UAL’s London Design Festival highlights

Read Rebecca Wright’s Insider’s Guide

Read Maiko Tsutsumi’s Insider’s Guide

Read the full London Design Festival programme

Search design courses at UAL

London Design Festival Insider’s Guide – Maiko Tsutsumi

Katharina Eisenkoeck
UAL’s design experts share the inside track on what not to miss at London Design Festival. Here Maiko Tsutsumi, Subject Leader for MA Designer Maker /Postgraduate Programme Director at Camberwell College of Arts reveals her top five:

1. The Saturday Market Project pop up shop
“A space for making, material experimentation, masterclasses, demonstrations, workshops and a temporary shop. Throughout the week visitors will build an installation of golden wheat straws on a skeleton of high-visibility yarn inspired by the Swedish harvest tradition of Himmeli.”
Read more on the Saturday Market site

2. The Simplified Beauty at SCP
“Three shows from Japan, America and Britain that celebrate things made as they should be. Welcoming the Ishinomaki Laboratory, Mashiko ceramics, the Shotoku Glass Company and other special objects from Japan. Brooklyn-based designers Fort Standard represent America, while SCP launch A/W14 designs.”
Read more on the London Design Festival site

3. Elements of Craft
“Lina curates an exhibition focusing on the influence of craft in design. Pieces by Angelo Mangiarotti and Roy McMakin present classics from the 70s and 80s that are set against works by over 40 established and emerging designers”
Read more on the Mint site

4. Wrong for Hay
“During the festival, the new HAY and Wrong for Hay showroom opens the doors of its Georgian house in St James’s. Reflecting the creativity and culture inherent in London, Wrong for Hay has invited a selection of creative collaborators to interpret and react to the space and the pieces within it. Helsinki-based, guest-chef Antto Melasniemi is creating a food offering that weaves Nordic foraging with London urbanism.”
Read more on the Wrong for Hay site

5. Creo Collective
“Ex-Camberwell MA Designer Makers creo collective will launch their debut collaborative work at this year’s DesignJunction. I wrote an essay for their booklet.”

See our report on UAL’s London Design Festival highlights

Read Sadhna Jain’s Insider’s Guide

Read Rebecca Wright’s Insider’s Guide

Read the full London Design Festival programme

Search design courses at UAL

Helsinki Design Week Antto Melasniemi Food Design for Wrong for Hay @ Ateljé Finne_Harri Koskisen OMA-astiat

Next season fashion – the new names to know

One of UAL’s fashion experts reveal the inside track on which names to know next season. Just hours after last show closed London College of Fashion’s Tony Glenville files his report on which designers caught his attention; the Creative Director names Teatum Jones, Faustine Steinmetz, Toga, Xiao Li and Edeline Lee as his ones to watch come spring.

Vogue reports: “There was already a gentle buzz surrounding Parisian designer Faustine Steinmetz this morning – not least because denim is having a moment and she is one of a growing number of names for whom it’s their forte. The Atelier Chardon Savard and Central Saint Martins trained designer deconstructed it to the Nth degree for her debut London Fashion Week presentation this morning – jeans and jacket threads resembling capillaries almost, so fine and entwined were they.  It looks like brand Faustine is on its way.”

See some of the key looks from fellow rising star Edeline Lee below:


20 Edeline Lee SS15 Presentation (c) Mayfield Curtis 45

10 Edeline Lee SS15 Presentation (c) Matt Wash   107


1 Edeline Lee SS15 Presentation (c) Matt Wash   062

Alumnus Daniel Chehade curates poster exhibition for LCC’s ’160′

daniel portrait

Daniel Chehade at work

Our current trio of exhibitions as part of London Design Festival, ’160′, has been attracting a lot of attention recently, but visitors may not know that one of the shows has been curated by an LCC alumnus.

Daniel Chehade graduated from the College’s BA (Hons) Graphic and Media Design and Diploma in Professional Studies courses and has masterminded ‘Alan Kitching and Monotype: Celebrating the Centenary of Five Pioneers of the Poster’.

The exhibition presents a unique set of prints created to celebrate the 100th anniversary of five giants of graphic design: Tom Eckersley, Abram Games, FHK Henrion, Joseph Müller-Brockmann and Paul Rand.

monotype type image

Preparing for LCC’s ‘Alan Kitching and Monotype’ exhibition

Daniel founded Studio Chehade in 2012 and has undertaken curation and design for the Alan Fletcher archive, exhibition design for The Hayward Gallery, and has worked with Aram Gallery, Hidde van Seggelen Gallery and Peter von Kant.

He was first introduced to Alan Kitching during his Diploma in Professional Studies year in industry at LCC, when he worked on a memorial book on graphic designer Alan Fletcher, and then went on to work for the Alan Fletcher studio after graduation.

alan kitching

Alan Kitching in his studio

Speaking about the forthcoming exhibition and accompanying panel discussion ‘Five Lives in Posters’, Daniel explained:

“Being an alumnus, it is a great pleasure (and pride) to bring this exhibition and event to LCC. It’s a natural fit for this celebration of five influential graphic designers and the collaboration between two typographic heavyweights Alan Kitching and Monotype.”

We caught up with him to hear more.

How do you feel the exhibition connects to the College itself?

“Alan Kitching and Monotype are two huge typographic forces. London College of Communication is a hotbed for up-and-coming graphic designers with typography and printing at its heart (as well as in its history). Both Eckersley and Henrion taught here whilst Alan has given numerous workshops and talks. It’s the perfect fit.”

What you would like visitors to take away from the show?

“Working with Alan Kitching during this project has been an honour. I hope visitors enjoy seeing not only the finished prints but also the glimpse into Alan’s workshop and his design process. The attention to detail in Alan’s work and his commitment to the quality of each piece has been inspiring.

“It’s also a great opportunity to look back at each of the five designers celebrating their centenary. Throughout my research I’ve become acutely aware of their significance, in how we practise and teach graphic design today.”

grad school graphics resized

Graphics for the LCC Graduate School launch earlier this year

In fact, Daniel’s work has already been seen around the College as he was commissioned by the LCC Graduate School to design its branding for the School’s launch earlier this year. So what inspired his designs?

“The identity for the Graduate School stemmed from the fact that’s a school without a fixed programme. It operates across both the School of Design and Media. The multi-disciplinary nature of the College means students share and collaborate beyond their own course and subject area.

“The Graduate School’s events programme also acts as a platform for discussion, ideas, sharing, talks, opportunities etc. The logotype reinforces this with a literal platform or underline.”

Graduate School Coordinator Holly McConnell describes why Daniel was selected for the project:

“I think it’s really important that we work with graduates on projects like the Graduate School launch. As students, they have lived and breathed LCC so their work is always reflective of the culture here. Daniel was a natural choice for this project, his portfolio showed considered, thoughtful and creative solutions that conveyed a strong sense of the subject.

“His designs for the Graduate School were no exception, creating a simple but powerful identity that has been an instant success with staff and students.  He also happens to be a very nice chap to work with!”

Read more about the ’160′ exhibitions at LCC

Read about BA (Hons) Graphic and Media Design

Read more about the LCC Graduate School

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