Archive for the ‘London College of Communication’ category

New Course Discourse // BA (Hons) Information and Interface Design

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Digital installation.

In our latest New Course Discourse feature, we chat to Programme Director Ben Stopher to find out more about the new BA (Hons) Information and Interface Design course.

So Ben, can you explain a little bit about the course and its aims?

Well this new course is highly digital and its design lead, so really the core of the course is about putting information design and interface design in this more digital context. There are three key specialisms that make up the course, UX and UI, data visualisation and graphic and information design.

If you’ve ever want to make websites, or build apps and data-visualisations, or even just something screen based and visual then this is the course for you.

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Gephi network graph, Ben Stopher, 2015.

What can students expect from the course in terms of structure?

So in the first year you do graphic design, typography and information visualisation. You also do graphic design animation coding for the web, which is a really valuable skill to develop.

In year two you start to work in the user experience (UX) and user interface (UI) design studio, then you do interactive data visualisation and a major industry project. In both of these units we visit studios and also get live briefs from industry.

Why is this course unique?

It’s highly industry aligned and highly digital. We’ve offered this very specific area because there is definitely a gap. No one else explicitly teaches UX and UI design and no one else explicitly teaches interactive based visualisation so those three things are really unique to this course.

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Gesture capture data visualisation, Ben Stopher, 2015.

In terms of careers and futures, where could this course lead its students?

You can be a UX designer, you can be a UI designer, basically anyone who wants to work with how things look on screen; phone apps, websites, any kind of digital interactive content. There’s tons and tons of work for people with those sorts of skills.

One of the main selling points of this course is that it is highly industry aligned, and designers that have those kind of digital skills – that can work with data – are going to be highly sought after.

The industry really struggles to find designers with that digital skill set – and so that’s partly why we developed this course.

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Introduction to Infographics Workshop, 2015.

So what skills or qualifications are you going to be looking for in students?

We take students from foundation but we would also consider students straight from A level, if they know that they want to do digital design then we will look at their portfolios. Students will have similar qualities to applicants for Graphic Media Design, but also an awareness of what UX and UI is.

If you are an A level student who knows what those things are then you are highly likely to be a person that would be relevant for us to look at. I don’t expect schools to have a clue about the nuance of this course, but it’s about if the applicant has enough presence of mind to know what these things are, and thinks they might want to do them, then I’ll look at anything.

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LCC student with digital work.

Any last words?

It’s a super future relevant digital course. Graduates are going to be highly sort after because it isn’t a massive course, there are only 25 places. Students will get a brand new studio and a whole new team of tutors.

Find out more about BA (Hons) Information and Interface Design.

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From LCC to Hollywood, alumnus Henry Hobson talks to us about his work on the Oscars, his feature film and more

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Oscars graphics 2015, The Grand Budapest Hotel, Henry Hobson.

Since graduating from the BA (Hons) Graphic and Media Design course at LCC, Henry Hobson has gone on to make it big in showbusiness. From leading the graphic designs for the Oscars, to directing his own feature film ‘Maggie’ starring Arnold Schwarzenegger, Henry has worked his way to the top.

In the week that the first trailer for his Tribeca Film Festival-nominated movie is released, we caught up with him to find out a little more about his journey from LCC to Hollywood.

Can you tell us a little bit about your time at LCC. What were the most important lessons you learnt here?

I studied at LCC, or LCP as I knew it, for my Foundation course and BA. From the outset the focus on design was what drew me in, even on Foundation my tutors helped me explore the possibilities of design, and this was just before computers were becoming truly effective design tools.

Handmade and crafted techniques that I learnt, testing out colour and thinking critically meant that when I got to the BA I already had a shorthand in place.

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Oscars graphics 2015, The Imitation Game, Henry Hobson.

During term time I would do internships – I worked in my first year with Why Not Associates. I found the first couple of weeks a bit dull, but doing small tasks and little pieces of work helped me understand how valuable the creative experience I was getting at LCC was.

I learnt to push as hard as possible with projects, answering the briefs how I wanted to answer them. I learnt there is no incorrect answer if you have navigated to it from the brief. I still stick to that open way of thinking now, when a brief comes in.

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The making of the Oscars graphics 2015, Interstellar, Henry Hobson.

Can you quickly talk us through your journey from graduation to where you are now in your career? Were there any key opportunities that you feel particularly grateful for? Formative experiences?

By the time I left LCC I had done so many internships that I was able to get a job at Why Not Associates almost straight away. I worked for them for years, before getting a place at the Royal College of Art. Whilst studying at a postgraduate level, I still found that my experiences at LCC, and the lessons I learnt there were fundamental in developing my ability to think creatively, even though they were hard to get my head around at the time.

What made you move to America, and is there a difference in the culture of design in the UK and the US?

The move to America came a little bit out of the blue, after my work was spotted. I found the design culture intensely different. Even my first week in the States when I was asked to pitch and I was presenting concepts and theories, the Americans wanted finished designs in the pitch not theories. The technical skill level is insane here.

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Oscars graphics 2015, Boyhood, Henry Hobson.

How did you get into films, and can you explain a little about what led you to your feature film, ‘Maggie’?

I chose LCC because of the late Ian Noble, who sat me down when I went to a D&AD event in Holborn. I wanted to study film and Ian convinced me that design was a secret backdoor into cinema, telling me that Hitchcock, Ridley Scott, Kirostami and others all started as designers, and that the British film industry is so closed off it would be so difficult.

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The making of the Oscars graphics 2015, The Grand Budapest Hotel, Henry Hobson.

So my long game always involved film, using moving image and design as a creative outlet to try and tell stories. Why Not Associates had their foot in all sorts of doors and shortly before arriving I was able to be mentored by David Ellis in directing, going to shoots and being behind the camera.

I learnt the technical terms and ways of working and this allowed me the confidence when I moved to the states to tell bigger stories. It was a few of those bigger stories that led me to Maggie.

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Oscars graphics 2015, Birdman, Henry Hobson.

With your feet so firmly in both the graphic design industry and the film industry, where do you see yourself in 10 years’ time, how will you maintain that balance, or do you want to move more definitely into one area?

I love being in both areas! Creatively design allows for a more spontaneous outlet and film is the slow fix, you have to have immense stamina to build and work on films, because they take so long to make!

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Oscars graphics 2015, Maleficent, Henry Hobson.

What advice would you give someone graduating from a graphics course this summer?

I left LCC and my website was filled with conceptual thinking and graphic projects, which was an exciting position to be in. However, I soon realised that to get where I wanted to be I needed to tailor my portfolio into a language that design studios could see as applicable; to show proficiency in the core software and subtlety within my designs. My advice would be to keep this exciting conceptual stuff on your websites, but think about sectioning them off to show the different ways you can work.

Find out more about BA (Hons) Graphic and Media Design.

Read Slate.com’s fascinating interview with Henry about his graphic designs for the Oscars.

Read Artofthetitle.com’s interview with behind the scenes pictures of the Oscars graphic design process.

The post From LCC to Hollywood, alumnus Henry Hobson talks to us about his work on the Oscars, his feature film and more appeared first on London College of Communication Blog.

Waste-Off and LCC’s Museum of Reinvention

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The Museum of Reinvention, Waste-Off, LCC, 2015.

This week marks the conclusion of the cross-University Waste-Off Challenge, a  project to give waste new value and help promote material reuse and sharing. As part of this the Museum of Reinvention is being exhibited at LCC.

Waste-Off was launched at the end of last year by the UAL research hub Conscientious Communicators with support from Stephen Reid, Deputy Vice Chancellor of UAL, who saw the project as an opportunity to “harness the passion to drive forward change”.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

Teams comprised of students, academic and technical staff came together to collect material waste and via studio working and workshops facilitated by design-maker and UAL alumnus Jan Hendzel, created collaborative inventions.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

The result was the generation of diverse and inventive projects from across London College of Communication, Central St Martins, Camberwell and London College of Fashion.

LCC students, staff and alumni created  two cabinets of reclaimed, up-cycled and reinvented objects – to act as a permanent showcase of inspirational examples, teaching tools and unexpected ‘creative curiosities.’ The aim was to demonstrate that salvaged items can have greater value, character and potential than virgin materials.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

Sarah Temple and Tara Hanrahan, who conceived and managed the project, explain: “We wanted people to explore the creative potential of the discarded! To show by example what is possible and through this activity help establish practical processes for staff and students to share resources and avoid contributing to landfill.”

Find out more about Conscientious Communicators here.

 

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BA (Hons) Advertising student premieres romantic drama Handle with Care at Cineworld

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Handle with Care (2015) in production.

Third-year LCC student Tope Phillips has just completed his second feature Handle with Care, a British romantic drama exploring the highs and lows of love and friendship within a circle of five twenty-somethings living in London’s evolving suburbia.

The film touches on issues faced in contemporary relationships including interracial dating, serial daters, the challenges of commitment and many others, premiering recently at Cineworld Canary Wharf.

Watch the trailer //

We caught up with Tope to find out more about his work.

How did you first get into filmmaking?

I have always had an interest in films and writing, however I first got into filmmaking in my first year of university. I discovered I had a flair for filmmaking after I worked on a couple of projects.

One of my old friends Josh Bridge then contacted me, after seeing some of my work, about teaming up and creating films together at the end of 2012. We got together with the same vision and we have created two films together [the first was Squeeze, which premiered at Cineworld Chelsea].

What do you most enjoy about the process as a whole?

I enjoy every part of filmmaking, from the writing and developing of the storyline and scripts, to the audition, meeting and getting to know the actors during the rehearsals, and selecting locations for filming.

I also really enjoy the production and all the technical aspects of filming such as lighting, selecting the lenses and using different equipment on set such as the rigs and mini-cranes, and the post-production aspects such as editing, selecting the film soundtrack, designing the posters and then promoting the film.

Seeing the whole plan come together was very rewarding, however I would say my favourite part of the process was the production. This was the most rigorous, however also the most rewarding.

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What has so far been the biggest challenge?

The biggest challenge was during the production of the film, we had really long days with some days starting shooting at 9am till 3-4am and resuming filming the next day at 9am.

We also had really big scenes like a scene at a comedy club where we had over 50 extras, so we had to be really organised in order for things to run smoothly.

Handle with Care is about dating in London – obviously there are a lot of films exploring this area, so what did you particularly want to address in your own film?

We made sure this film wasn’t like the typical romantic comedy/drama with the typical fairytale ending.

We made sure the characters were real and relatable and touched on many issues in young people’s relationships today such as interracial dating when parents and other parties may not approve, relationships where one party is eager to get married whilst the other isn’t, serial dating and the impacts it has, and lots more.

We also focused it on a group of friends so we could tell multiple stories at the same time.

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Behind-the-scenes moments during shooting.

You’re currently studying BA (Hons) Advertising – how do you think this has helped your filmmaking?

Studying advertising gave me a can-do attitude, it definitely helped me in seeing things from different point of views.

Advertising involves a lot of planning and developing ideas which is essential in filmmaking. My lecturers helped to keep me motivated and encouraged me to pursue filmmaking.

What’s next for you?

Hopefully I can carry on making films on a bigger, better scale in the future. I also really like advertising so I might work in the advertising industry for some time.

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Third-year BA (Hons) Advertising student and filmmaker Tope Phillips

Visit the Handle with Care website

Read more about BA (Hons) Advertising

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Artefact // Behind the Scenes

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The Artefact team at work in the newsroom. Image © SUARTS

Third-year BA (Hons) Journalism student Paula Wik reflects on her experience as Managing Editor on Artefact magazine.

Behind the scenes, blood, sweat and tears are shed as we try to pull it all together. We are in the newsroom Monday to Wednesday 10am-5pm and the process is similar to that of a ‘real’ publication.

That’s because we are a real publication. Over the two terms we have worked on Artefact, over 600 articles have been published, many over 1,000 words.

We have secured interviews with big shots such as news anchor Jon Snow, Green Party leader Natalie Bennett and celebrated photographer and UAL alumnus Rankin, as well as many less famous individuals who we find inspiring and/or interesting.

We’ve done original research and created some pretty darn exciting pieces – our piece on whaling in the Faroe Islands has drawn over 3,600 unique viewers alone!

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Artefact recently investigated whaling in the Faroe Islands.

Each article is painstakingly processed through the workflow from its beginnings as a ‘pitch’ (a suggestion of a story to be written – either from writers or editors), to ‘in progress’ (when writers write the story), to ‘draft submitted’ (when editors edit the piece), to ‘pending subbing’ (when sub-editors correct flow, spelling and grammar), to ‘editor’s check’ (when senior editors give the piece a once over).

Finally, the article reaches the tutors who approve the piece before publishing.

Along the way it can be sent back and forth between the writer and the editors many times for polishing and improvements – maybe another quote is needed for balance, maybe there’s a legal issue, maybe the whole piece doesn’t make sense.

Our turnaround for our print publication is very time-limited. We’re only in the newsroom three days a week and one printed edition has to be created in four weeks – from pitch to being sent off to the printer.

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The magazine explored the idea of freedom in the Liberty issue.

Everything has to be considered – content (of course), layout, design. Will this appeal to our readers? Will our front cover make our readers want to pick it up? The balance of the articles: harder stories mixed with softer; images versus illustrations.

Does the content mirror our issue theme – this year we’ve looked at Metamorphosis, Greed, Liberty and Therapy. Does the content relate to the theme in too much of an obvious, literal or ‘samey’ way?

We work with a designer who guides us with the layout of the printed editions. We often clash, but always try to reach a compromise.

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The Natural Capital issue was released to coincide with LCC Green Week 2015.

As the managing editor for the last two issues I have been massively privileged. Being in the middle of it all means that I have been able, and required, to learn at least a little of what all the different roles demand.

There have been many flaws in our system; some roles are only needed for a few hours per day, while my job has turned into a full-time, seven days a week position.

A big difference between Artefact and a publication out in the real world is that we are students and have not been employed – instead, we’re paying to produce the content.

We all bring varying levels of dedication, talent and experience, which has been the biggest challenge of the module. For those students who have taken ownership of Artefact, it’s enriched our experience of BA (Hons) Journalism.

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Spread from the Liberty issue of Artefact.

I know there will be changes made for the future Artefact team, by which time we will hopefully be employed after having wowed the industry folks out there with our incredibly impressive publication.

Our baby, created from nothing, has grown up to be the talk of the town. Maybe not quite, but we’ve had amazing feedback.

I am grateful for this module and being able to leave three years of university with four brilliant editions of Artefact in my hand – knowing that the hard work we have poured into it has, to at least an extent, made up for the masses of money we have poured into our education. And did I learn…

Visit the Artefact website

Read more about BA (Hons) Journalism

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Review // PR Guest Lecture: Anaïs Hayes, Google UK

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Second-year BA (Hons) Public Relations student Mary Davoudi reports on LCC’s recent PR Guest Lecture by Google UK’s Head of Brand Development, Anaïs Hayes.

Anaïs’s engaging speech shared her extensive insights from Google on how technology is changing marketing communications and reorganising brands and businesses.

She reminded us that the rise of technology today is the slowest it has ever been, and it is only going to speed up, as the 2.8 billion people who are online now are expected to at least triple in the next five or six years.

She compared it to Moore’s Law and stated that every single year the number of connections we can fit into a device will double. Not only will it get faster but also smaller and a lot cheaper.

She shared the amazing fact that mobile data in 2014 was 12 times the size of the entire internet in 2000. She reminded us that access to connections is also getting much more global and there are 10 billion devices worldwide; more people have access to a mobile device than a toothbrush!

Anaïs introduced the concept of instant gratification: how as consumers we will wait only two seconds for a webpage to load. Linked to this, it is not only the device or the message that matters, but the speed of the message. If, in those two seconds, the page is not loading, we immediately go to a competitor’s website.

As a result consumer behaviour can be understood by a completely different www acronym. It is not world wide web anymore, it is ‘what I want, where I want, when I want it’ – and if I can’t have that I will go somewhere else.

Baking speed into every concept you present to a client is crucial, Anaïs reminded us. According to her, businesses that support this are the businesses that succeed. Success is now based around ease, fluency and service.

Anaïs also discussed YouTube being not just a digital platform but the largest focus group in the world, where people will comment, like and view things and let your brand know what they like in real-time. As a public relations practitioner or a brand marketer, you can react to these changes immediately.

She highlighted an example of car brand Honda, who launched two different versions of their advert to see which one attracted more people. The one that got fewer views was taken down and all ad spend focused on the most successful one.

During her speech, Anaïs showed us a short video of a child playing with an iPad. In the next shot the child is seen playing with a magazine which she thinks is a touch screen iPad. Instead of turning the pages, she tries to touch them with her fingers.

The video demonstrated that we shouldn’t just be thinking about the current generation but focusing our expectations on future generations who have entirely different ways of thinking and behaving. As public relations practitioners we have to be ahead of the curve to advise our clients on these changes.

Anaïs also introduced another important concept for the future of communications and marketing: permission-based media.

It used to be that if brands showed you something frequently enough, eventually as a consumer you would buy it. Now, when an ad annoys you, you can avoid it.

As a result communications need to become permission-based. People don’t buy from brands. People buy from people. Brands need to work hard to understand how to do this to ‘hear’ consumer’s permission.

Anaïs finished her lecture by reminding us that in the 1920s, messages were presented on cinema screens metres away from us; in the 1960s to 1980s the message was in our living room via television. Then on our laptops and tablets.

Then we start becoming more personally involved and today we have wearable technology such as Google Glass. Is this the future of communications and marketing?

Studies show that the closer information is to cerebral cortex the more effectively it is processed, while it is predicted that in 2020 there will be 250 million wearable devices. What will this do to the discipline?

Words by Mary Davoudi

Read more about BA (Hons) Public Relations

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Two LCC alumni premiere their latest film ‘Firewalker’ based on the music of funk band Jungle Fire

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Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

The 70s are back in this visual tribute to Afro-Latin Funk band Jungle Fire, created by break-through filmmakers and LCC BA (Hons) Design for Interaction and Moving Image alumni Alejo Restrepo and Roger Gonzalez. The pair, who funded the film with a successful Kickstarter campaign, released their film this week.

Their journey began two years ago whilst Alejo and Roger were studying together at LCC. On a friend’s recommendation they went out to watch a show by Jungle Fire. The band, a much talked about Afro Latin Funk band hailing from Los Angeles, were in the middle of a tour made possible by support given by Tony Morrison, DJ Lubi, Craig Charles of BBC6, DJ Snowboy and the UK Arts Council.

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Still from Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

Jungle Fire had been packing venues and generating a very healthy buzz around their performances. Alejo explains, “The show was bananas, and we felt so inspired by the energy we felt at that packed venue, that we approached the band about creating something together.”

After going back and forth for about six months, Alejo and Roger came up with a concept for a short film based on the band’s track ‘Firewalker’. The film, with a storyline loosely based around how Jungle Fire formed, is a creative project produced in conjunction with Walter Pictures and features some of the LA area’s most promising young actors and dancers.

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Still from Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

Alejo explains, “The goal was to create a piece that could be shown in film festivals but also stands on its own as a music video, like Michael Jackson’s ‘Thriller’. This project was a complete labour of love. Roger and I even quit our jobs in London to come to LA and make this happen!”

Using music from the band’s new record ‘Tropicoso’ as inspiration, the film takes viewers back to the decade of funk and flares, offering a new creative alternative to the music video format we have come so accustomed to.

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Still from Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

The 9 minute short, which was shot on location in LA, provides a visual representation of the whole album. With its laid back, funky style, the film aims to highlight the sense of euphoria that this Afro-Latin Funk music induces.

Find out more about BA (Hons) Interaction Design Arts (previously BA (Hons) Design for Interaction and Moving Image)

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New Course Discourse // MA International Journalism (Online)

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LCC’s Russell Merryman in the newsroom.

In our latest New Course Discourse feature, we chat to Course Leader Russell Merryman to find out more about the new course MA International Journalism (Online).

Can you tell us a bit about why this course has been created?

I suppose the aim, really, is to make practitioners – journalism or media studies graduates – more aware of the growing internationalisation of the media.

Before the internet, all media was regionalised or territorialised, either by nation or locale, and that was a limitation of the technology that was being used, whether it was newspapers or satellite TV.

The internet’s changed all that, and in effect everybody who publishes now is an international journalist.

But what we want to do is to try and make people more aware of the issues that are raised by that – that the playing field has radically changed – and raise an awareness about the different kinds of approaches to storytelling, narrative, law, ethics and freedom of expression.

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Journalism students working in the newsroom.

How does the course content compare to an undergraduate journalism course?

On a good undergraduate programme students will be taught how to edit video, edit audio, deal with laying out a page, use social media, create websites.

What we want to do is take that on and engage people with some of the very exciting new storytelling platforms that are available, that allow people to create in-depth documentary-style journalism.

Long-form narrative, ways in which we can get under the skin of a story much more effectively than we ever could before, and engage the audience in a new type of interactive dialogue.

We want to let people explore and experiment within their own art, as it were, and within their own discipline, and really try and bring their journalism to life. Not just by examining what’s going on around them with an international perspective, but also collaborating with students in other parts of the world.

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Artefact magazine, produced by LCC’s BA (Hons) Journalism students.

We’ll also be bringing in people from industry. Many of the tutors who we’re looking to recruit onto the course have experience with international broadcasters and news organisations, and we’ll be bringing in guest speakers as well.

We’ll be looking for the students themselves to bring their own experience from their own part of the world to the table, and make that part of the debate.

All of this works towards a final major project, whether that be a research dissertation or a multimedia documentary. That’s where we want them to get to at the end of the two-year course.

Can you talk a bit more about the ‘online’ aspect of the MA?

The programme is delivered entirely online so there will be no requirement to travel to London, no requirement for visas and no requirement for expensive rents. It’s part-time, so students can study it whilst, I hope, holding down a full-time job.

So it is designed with practitioners in mind – people who want to build their international perspectives on the work they are doing as journalists, and hone those skills with a group of like-minded people in an online community of interest.

For the College, it’s not the first time we’ve done online courses. We’ve got experience of doing those already, with a very successful photojournalism and documentary photography course, and we want to build on that.

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Emily Bell, former Editor-in-Chief of Guardian Online, giving the annual Hugh Cudlipp Lecture to LCC students.

We’re going to be looking at a number of aspects of journalism that are affected by developments on the internet and the international perspectives that it brings.

So things like data journalism, developmental journalism, how journalism operates in emerging democracies, is the Western model really the right model? Are there are models that work more effectively in those environments? And what are the limitations and challenges of those areas?

You mentioned LCC’s reputation in providing online courses, but what else can the College offer to your future students?

What LCC brings to the table in this case is the experience of the staff, and the focus on communities of practice and communities of interest, which we want to take into a virtual realm.

Also there is still access to a lot of the facilities, like Library Services and other systems that we provide to the LCC community, which are available online. There are lots of benefits of being a student, even though you’re not physically in the building.

And connections with other courses – students will make those connections online. Students are talking to each other via the internet even when they’re physically in the building, so we’re building communities across those boundaries. LCC has always been keen to do that – it’s in our DNA.

So students will be joining that very extensive group of experts, fellow students and fellow practitioners. We are actually hoping to collaborate directly with the photojournalists, and get people working together on projects.

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LCC journalism students working in the newsroom.

What are you looking for in applicants?

We’ll be looking for people who have some background in journalism – probably journalism graduates. We’re looking for experienced storytellers.

I talk to my students on the undergraduate programme and they say, “What can I do next?” And one of the things that struck me was that a lot of them went on to do things like international politics, which developed their worldview but wouldn’t necessarily develop their journalism.

So I thought there was a gap in the market – we can actually provide people with a Masters course which examines international politics and the issues of freedom of expression from an international perspective, but do so with a journalistic worldview.

We will also be happy to consider non-journalists – people who’ve done media and communications degrees, who’ve got some of those practical skills that we can hone into journalism.

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Artefact magazine, produced by LCC’s BA (Hons) Journalism students.

What kinds of careers can graduates from the course expect to go on to? 

We hope that we will turn out people who are confident about tackling some of those international issues, and will be able to do so either as freelance writers, or in international news organisations – the number of which is actually growing.

We are seeing more and more international broadcasters, internet services and magazines coming online. From the days when there was just CNN and the BBC, now there are a huge number of potential employers who are interested in candidates who have a strong worldview and a strong desire to tell stories that have a global reach.

I hope that we will find stories that nobody else is telling, based on the students’ local knowledge and experience. I think that is a really exciting prospect.

Find our more about MA International Journalism (Online)

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Meet: Seulki Kang

Seulki Kang studied Graphic and Media Design: Typography BA (Hons) at the London College of Communication.

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Seulki Kang

What made you decide to come to London and study at London College of Communication (LCC)?  And what specifically interested you about Typography?
I was attracted to London because it was a city that knew how to keep its old and new by maintaining the history’s architecture, design, arts and culture. I chose LCC due to its environment and history, its portfolio of successful alumni and the curriculum. LCC has the best curriculum for typography and that was the main reason that I decided to enroll at this school. Although, later on I got to lean more towards interaction design.

I was interested in Typography because it came to me as a game of some sort, in which organic space can be created in between letters’ compositions. Also, typography itself is a straightforward medium that can send strong messages and emotions to the viewers without any complicated images.

What’s your favourite memory from your time at LCC?
My favourite memory at LCC was experiencing the analog process of printing with screen-printing and letter press, which is hard to find in fast-changing times like this. It was always fun to use these analog processes that create interesting diversified works.  I only got to take a few Typography classes during my study and moved on to interaction classes. Although interaction classes are fundamentally based on digital skills, I always kept my sketches and used screen-printing for my final results.

What was the best thing LCC taught you?
It’s hard to pinpoint the best thing that LCC taught me, but I can say that I have had a lot of opportunities from my time there; I got a chance to learn how to study design at my own pace, I met students from various cultures and worked together on different projects, and most of all, even though I was just a student, I got many chances to actually experience professional design work in its field.

Did you enjoy living in London? What one piece of advice would you give a student moving to London?
The best thing about living in London is that the city breathes art and design history. There are a number of galleries and places hiding among the streets that give me inspiration. Also, art shows and events are always around. I believe London is THE PLACE for students who are wanting to study art and design. If I were to give one piece of advice for a student moving to London it would be to experience and enjoy these places and moments as much as possible.

What have you been doing since graduating?
After graduating I came back to Korea and worked at a design agency called ‘Vinyl’. I mainly worked as an interaction and new media designer, focusing on special exhibitions, performing arts, digital promotion etc. Also, I created an artist group called ‘atoyfactory’ and hosted group and personal exhibitions, seminars and created art works. Currently, I work at an online game company, ‘Nexon’ in brand and interaction design, and I also teach interaction classes at Universities.

What has been your greatest achievement?
My greatest achievement is having the opportunity to create a small community with up-and-coming young designers from different cultures. Also, I used to focus only on the designing skills in a project, but now I feel a sense of fulfillment when I think and solve the essence of the project itself.

What’s next for you?
I am currently planning many things. Since last year, I have co-created ‘boboostore design cooperative’ with other Korean designers. We are planning to innovate new design business models every year. This year our goal is to sustain the cooperative by launching our own brand products. My personal plan is to move on from company ’Nexon’ and go for a new challenge. While I was studying in London I created a group called ‘atoyfactory’ that creates interactive toys. Since then, I have also worked as an art director that combines play, toys and education. I want to further research this and study to make change in educational design – hopefully the doctoral course that I am planning to take starting this year will help me venture out in this field.

What or who is your greatest inspiration?
My greatest inspiration are people who use my work. They could be a middle-aged woman or a five year old boy. In the end, their opinion and interaction with my work shows me the small details and points that I don’t get from the advice of the professionals and specialty publications. And with this direct and indirect feedback, I will be continuously inspired. It is like inexhaustible spring water that flows time after time…

Find out more about the Graphic and Media Design: Typography BA (Hons) at the London College of Communication

Jo Glover, Senior Graphic Designer at the V&A and LCC alumna, talks us through her designs for Alexander McQueen: Savage Beauty

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Savage Beauty Poster, Jo Glover, V&A, 2015.

The V&A’s record-breaking current exhibition, Alexander McQueen: Savage Beauty, is the first and largest retrospective of the late designer’s work to be presented in Europe.

LCC alumna Jo Glover, who graduated from BA (Hons) Graphic and Media Design in 2006, is Senior Graphic Designer at the V&A, and has been in charge of developing the design identity of the exhibition. Jo has been involved in every detail of the show from the selection of the lead image and designing the promotional campaign, to perfecting the details of the guides, leaflets and invitations.

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Savage Beauty, Jo Glover, V&A, 2015.

The exhibition will showcase McQueen’s visionary body of work. Spanning his 1992 MA graduate collection to his unfinished A/W 2010 collection, McQueen’s designs will be presented with the dramatic staging and sense of spectacle synonymous with his runway shows.

We caught up with Jo to find out more about her journey from LCC to the V&A.

So Jo, can you tell us a little bit about your role as senior graphic designer at the V&A? How did you get to this job, and what do you enjoy about it?

I got the job in 2011 after working at ad agency Wieden+Kennedy and doing my MA at the RCA. I also worked in branding for three years at Venturethree which helped with the more commercial work I do for marketing.

The job at the V&A combines the parts I loved from the advertising and branding jobs with my first job in the arts and cultural sector designing books for the likes of the RA. I love the variety of working on beautiful luxury print through to exhibition design and way finding. It never gets boring and is always a challenge.

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Savage Beauty, Jo Glover, V&A, 2015.

Can you explain your involvement in the Savage Beauty exhibition? What excited you about it and what you were nervous about?

I worked closely with marketing and press and the curatorial team to make sure we told the story of the exhibition through the print and digital campaign. I had to really fight for the very macabre savage image because it could be seen as intimidating but I think the lead image encapsulates the whole idea of both savage and beauty.

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Savage Beauty, Jo Glover, V&A, 2015.

So what was important to you in your approach to the designs for Savage Beauty?

In my approach to the savage beauty designs it was important to capture the slick high end luxury feel whilst retaining the darkness that comes through Lee McQueen’s work. We also really wanted to highlight the less known collections as well as the obvious ones. The events like the dinner are very high profile with a number of celebrity guests so we used lots of beautiful embossing, matte and gloss contrasts, and great paper.

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Savage Beauty, Jo Glover, V&A, 2015.

How would you describe your style and design sensibilities?

I’d say my style and design sensibilities are very pure, clean and quite classic but this obviously depends on the brief and market I’m working to. You have to be able to adapt and embrace styles that work with the audience or visitors you are targeting.

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Savage Beauty, Jo Glover, V&A, 2015.

How did LCC prepare you for life in the working world?

LCC prepared me so well for the working world because I did the industrial placement year where I got valuable experience from Elle magazine in London, the Chase in Manchester and Storm design in Melbourne, Block Branding in Perth and Principals branding and 2Birds design in Sydney. I also worked at Why Not Associates in London when I got back. This allows you to work out what you like and don’t like and also to travel and experience many different ways of working.

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Savage Beauty, Jo Glover, V&A, 2015.

Can you give one piece of advice for an aspiring graphic design student?

My one piece of advice would be to work hard, don’t be scared to make mistakes, and make lots of tea to get involved if you’re on a placement!

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Savage Beauty, Jo Glover, V&A, 2015.

Find out more about BA (Hons) Graphic and Media Design

Read Jo’s alumni profile

Find out more about Alexander McQueen: Savage Beauty and book tickets

The post Jo Glover, Senior Graphic Designer at the V&A and LCC alumna, talks us through her designs for Alexander McQueen: Savage Beauty appeared first on London College of Communication Blog.