LCC: Graphic and Media Design degree show

The London College of Communication’s vast Graphic and Media Design show incorporated graphics, illustration, advertising and typography – – not to mention plenty of experimental projects along the way. Here’s a selection of some of the great work that was exhibited

The London College of Communication’s vast Graphic and Media Design show incorporated graphics, illustration, advertising and typography – not to mention plenty of experimental projects along the way. Here’s a selection of some of the great work that was exhibited…

I really liked Claudine O’Sullivan‘s vibrant series of portraits of a fox which were made, somewhat surprisingly, in coloured pencil.

This close-up detail is from an intricate illustrated piece entitled The Victoria and Albert (1%), by Lizzy Holbrook.

Both of Nic Morley‘s series of overprinted faces and masked cyclists were great. (Cyclist image from Morley’s LCC page. More here.)

Juliana Futter‘s Archetypal Images series combined screenprints alongside ceramic pieces. I liked this simple red door, which appeared to open out of the page above the pink hands. The images in the series are taken from dreams and, in some cases, nightmares. More work on her LCC page; and a great portfolio at julianafutter.tumblr.com.

These distorted prints were really interesting – but alas, I couldn’t see a name displayed alongside them. If anyone can help identify them, please let me know in the comments below (and I’ll amend). and were designed by Nadine Tropschuh.

I liked this Industrial Wonders series of prints by Daksheeta Pattni. “The use of shapes and line represent the construction and engineering element of these great feats,” she writes.

And here’s Pattni’s lovely Animal Alphabet print.

Part of an interesting range of pieces on show by Oliver Binnian were these sections from his interpretation of the William Wordsworth poem, Helvellyn – about the mountain in the Lake District.

Working from the results of a Royal Institute survey about children’s career choices, Susan Yan Mach‘s digital illustration injected some fun into the process. Her sketchbook was also particularly impressive (spread shown).

Two prints by Lawrence Slater captured New York and Paris with some nice details (burgers, wine, respectively).

Using cut-up Polaroids and other photos, Sarah Dimech created some great collages in her Doe Family Series.

While Simon Phan made good use of the large wall next to the animation screen – and displayed three other Flower Girls from his series nearby.

Destroy – Innocents in Prison was an impressive installation of six photographs and a range of ceramic shoes by Ana Garcia Segura. The shoes apparently correspond to the number of ‘innocents’ held in a particular prison, as documented in the photographs.

I also liked the perverse humour in Blaise Chatelain‘s photography series Vain Acts of Rebellion, where, in a kind of shadow self-portrait, the photographer is shown stealing someone else’s sunlight.

Chatelain also presented a series of ‘Do Not Touch’ signs, liberated from various galleries and museums.

The Design for Advertising room had some interesting work on show, too. I liked these Pain Sounds posters for the charity Mind, which used lyrics from songs by, as above, Laura Marling and Tears For Fears. By Magdelena Andrzejewska.

Chelsea Sheridan‘s Print Kit was also really well produced: everything you need to get some screenprinting done, apparently.

And Sharon Wong‘s installation Because I Am a Girl was also impressive. It was created for a Plan UK campaign that seeks to help create equal opportunities in education for young women around the world.

I thought this Expressionist Film Festival poster was really strong., but can’t recall who it was by – if anyone can help, again, please let me know in the comments and I’ll add in a credit. It’s by Assia Faheem.

 

Heading into the Typo/Graphics room things took an experimental, at times surrealist, turn. Among the really strong type work on show, I liked Jack Gardiner‘s work for the Transparent Theatre, a temporary scaffold theatre structure which is home to a run of events organised by the Royal Court Theatre in London. More here.

And while tricky to photograph, this Vertigo typeface by Stina Ovaskainen uses ‘gravity’ as a starting point (a course brief, I think) and respresents the act of falling, apparently.

I also really enjoyed Vinzenz Hoelzl‘s Shrinking Liverpool project, housed in a rusty metal slipcase. It is an attempt to create a new identity for the city. (Interior shot from Hoelzl’s LCC page, here.)

I also liked the quality of these prints made to promote the new collaborative graphic design and typography practice, workplace, set up by graduates David Bate and Ed Hawkins. The prints make use of the typeface, Percy Display Bold, which is inspired by the aesthetics of handmade signage.

Claudia Chan‘s work for an ISTD Student Competition brief resulted in an identity for a Museum of the Circus. I really liked the Grand Opening poster. (Group shot from Chan’s page on the work, here.)

Finally, I was really drawn to Arianna Tilche‘s project on museums, entitled 1753 – 2011. Tilche built two cabinets, which each contained samples of the materials used to construct the British Museum and the new White Cube gallery – the change in materials portraying the evolution of the cultural space over this period of time. (Images taken from Tilche’s website.)

This was such a large show that the above selection is only a brief taster – so be sure to have a look through the LCC’s Graphics and Media 2013 exhibition site at lccgraphics2013.com and, in particular, the great work from the decidedly experimental wings of the Typo/Graphics pathway and also the Information Design, which was closed when I visited and so isn’t covered above.

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The July issue of Creative Review is a type special, with features on the Hamilton Wood Type Museum, the new Whitney identity and the resurgence of type-only design. Plus the Logo Lounge Trend Report, how Ideas Foundation is encouraging diversity in advertising and more

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