Kingston graphic design degree show

From musical posters and clock designs to hand carved type and sculptures, Kingston’s graphic design degree show offers a diverse and inventive array of projects…

From musical posters and clock designs to hand carved type and sculptures, Kingston’s graphic design degree show offers a diverse and inventive array of projects…

Branding for this year’s event, titled _ing, was designed by Charlie Sims, Lizzie Reid, Olivia Charlesworth and Sam Part. Each of the 73 students taking part were asked to create a poster using the phrase, which was also used to create some wayfinding around the gallery:


As with previous years, most students presented one or two projects, rather than an entire portfolio. It’s a risky strategy, but one that makes for an interesting walkthrough. The show is spread over two floors, and both include a mix of product, print, digital and interactive.

Upstairs, one of the most striking artworks on display is Luke Evans‘ Xero, which was printed using electricity. (For more info on Evans’ work, see our interview with him here).



There were some great typographic projects too, including Francis North’s Lossy, a print and 3D sculpture reflecting on the loss of information through copying. The print was created by photocopying the same letter until it became unrecognisable:



Josh Williams received an ISTD commendation for his typographic representation of the Tour de France:



And Kia Tasbihgou created a typeface inspired by an untitled drawing by Percy Delf Smith, and a specimen bearing a homage to the importance of craftsmanship:



Anna Barton, Sam Smith and Louise Delves also collaborated on a lovely response to a D&AD New Blood brief, to create a poster illustrating a seminal moment in record label XL’s 25 year history. The trio designed an installation and poster inspired by Aluminium, an orchestral album based on music by The White Stripes, which was translated into a ballet choreographed by Wayne McGregor.

The poster is divided into three sections, and perforated strips can be torn from it and fed through a punch box. Strips from the first section play the White Stripes songs that inspired Aluminium, whiel those from the second play the album’s tracklist. The third plays the movement of dancers:



Another interactive poster that caught my eye was Daniel Keeffe‘s What is said is said…, highlighting the permanence of comments we make online. Users could press a red button to see the phrase disappear, only for it to reappear a few moments later:



Jade Kents‘ series of posters for the London Hippodrome feature some lovely hand painted type and illustrations, and chart the venue’s re-incarnations as a Stringfellows’ nightclub and, most recently, a casino. (Kent also won an RSA award this year for In Good Hands, a joint social outreach project with Amy Webster which teams isolated individuals with apprentices).



Amy Webster also created an intricate infographic plotting the work and time behind Stitch, an exhibition and curatorial project launched with Lily Bonesso and Josie Tucker:



There was a range of finely crafted hand made products, too, including Milly Bruce‘s shadow clock, which contains two lights orbiting a face to create a shadow telling the time:



Hand embroidered clothing by Leigh Richmond:



And Joseph Sanchez‘s Best Side, a concept which aims to eliminate people’s ‘bad sides’ by revolving their good profile three times. Users can shine a torch on the objects to see a profile lit up on the copper plates behind, and Sanchez has also applied the technique to a series of iconic landmarks, using their most famous facades:



Other interesting work included Jack Beveridge‘s More Space campaign for The National Trust (CR readers might remember Beveridge’s Children’s Chairs project with Joshua Lake, which we covered in June last year), which aims to highlight the promote the National Trust in cities by highlighting a shortage of space in urban environments:



Josh Dean’s Collaborative Consumption project, which proposes turning libraries into places where people can borrow and deposit rarely used items (such as toys and musical instruments), and Hamish Ryde‘s poster for XL Recordings, which uses 10,000 pins to illustrate the crowd at a rave held by the label in 1992 (top image).

There’s plenty more to see, too and you can view all of this year’s graduates and their work at

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