MA Graphic Media Design

Course

Course Philosophy

MA Graphic Media Design welcomes curious, thoughtful and critical participants.

Rooted in the logic of critical thinking through critical making, MA Graphic Media Design participants deal with timely challenges (course and self-initiated) through a broad range of processes and media. Employing established and emergent methods and technologies, we work towards producing new and unlikely perspectives on and for the world.

This practice-led, research-oriented design course is delivered in two modes to accommodate the varied requirements and aspirations of the contemporary practitioner – full-time (45 weeks) and part-time (80 weeks).

Participants within the course are situated within a progressive site of award-winning pedagogic development and critical subject debate. An integrated approach to theory and practice threads through the course delivered by an accomplished course team of awarded design practitioners, published researchers and experienced educators. Leading critical thinkers, design practitioners, critics and writers are frequent guests and correspondents to the course.

Though challenging, our approach offers a distinct opportunity to develop a cogent body of work that is relative and progressive. Our graduates enter into complex contexts with curiosity and confidence, informed by in-depth subject knowledge, advanced design skills and a resilient attitude.

Course Leader

Contact

p.bailey@lcc.arts.ac.uk
@LCC_Graphics
Official UAL Page

London College of Communication
University of The Arts London
Elephant and Castle
London SE1 6SB
020 7514 6901

Mailing List Signup

Site design and build: Oliver Smith

Participants

  • Portfolio

    http://3ri2.com

    Project [More]

    Univers WT

    Univers LT Std + Wind + Temperature is a speculative typeface generated by a type modifying system. This project began as an experimental typeface exploring new possibilities for generative typography. As information, letters and signs have been liberated from its physical place and relocated to digital screen space, communication has become more flexible and variable. Therefore, this project sets out to design a speculative typography that reproduces the distinctiveness of letters in order to give people a sense of the importance of place and localization in their digital communications. project website: universwt.com

  • Project [More]

    Interpreting Gentrification

    The following research studies the use of language around the gentrification of Elephant and Castle, in response to the research question: In which way do graphic forms allow for different interpretations in the developers and protesters messages related to the redevelopment of Elephant and Castle? The intention of this projects is to demonstrate the disruption within the meaning of language by interfering with its graphic forms and context and reconfigure the author’s original narrative. In this case, the Southwark Council billboard is translated into the form of the protester's stickers found in the neighbourhood. Language is taken as an object that can be broken down and reconstructed, invoking a different narrative and exploring the meaning behind language.

  • Project

    Content Aware

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    In-Between Places

    The project offers new insights on the relationship between city dwellers and their surroundings, inviting people to reflect on their role within the urban environment. The documentation of an ordinary day of city life in London is altered through the use of visual strategies to create an imaginary landscape where the transitory passage of people leaves traces in space. Visually suggestive, the traces function as a metaphor to highlight the transformative potential of the act of walking. Drawing upon the theory of non-places, the project wishes to challenge the transient nature of contemporary urban realities, suggesting new possibilities of engagement with the city space.

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    Better than the real thing?

    Working with the notion that the act of copying within visual culture isn’t necessarily a tool for de-generation of the context and the image itself, I attempt to explore it as a process throughout which multiple identities get ascribed by the transformation of the original artefact’s context. Followed by the audiences responses in the form of deconstruction, postproduction, and reinterpretation, I assume the role of a mere coordinator instead of author by gathering and presenting the documentation of the re-contextualisation processes. This is an ongoing investigative research, and the engagement of the audience is the only way for the project to evolve. The intention is to explore and try to create a visual experience which allows the space for contemplation; evoking meaning rather than boldly presenting the “truth”.

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    Spaces Within

    In the times of fragmentation (of attention), the immersive experience of literature is slowly losing its momentum in favour of other media that offer an immediate gratification. This project is my attempt to convince the public of the literature’s enduring significance and relevance. My primary goal was to come back to the core - the content itself, and to reimagine it visually (first and foremost by extracting it from the traditional form of the book) in order to emphasize its unique qualities as a journey, as a teacher, as an archive. By focusing on the spatial-temporal aspects of literary content, I attempt to bring attention to its complex nature and remind about its power as a life-altering tool.

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    # I, MYSELF, ME

    This project focuses on how individuals construct their social identity (face) through online media contexts and platforms. It also explores the process of changing image into moving image to project the possibility of malleable identity in the facial form. The self-portraits are distorted and hidden in order to be unrecognisable, aiming to open up question of what remains of the narrative of self-portrait without having emotion to act loud and joyous in the self-image. As you post and tag your ideal identity online, these personality fragments are forming a new components of a shared self; we do not know who and when saves our photo. It seems like there is an overlap between stealing and sharing. This project might further explore an open question about privacy and harm of identity in terms of ‘Technological Other’, such as Facial Recognition and Detection Techniques. Without notice, our faces are always scanned making us victims of identity theft without us being aware of it.

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    Takes me back...

    A critical reflection of the migrant’s mental space - ‘Takes me back…’ - drives the viewer into a psychological journey. The transition through time, place and identity gradually transforms the value of the possession unfolding past senses and experience. Portrayed through the impressions & expressions of their keepsakes, the journey is accompanied by whispers from their subconscious mind. With the prevailing shift in communities around the globe, these hidden emotions provide an effective juxtaposition to the current debate around the subject.

  • Project [More]

    This Is (Not) YouTube. The Contamination of Content in YouTube Videos.

    The project aims at changing the way users engage with the content accessed on YouTube, destabilizing what is called the “habituated perception”. The artefact is designed to originate provocative aural and visual experiences and unexpected emotional reactions through techniques such as de-familiarization and cognitive dissonance. It becomes an opportunity for a new criticality towards the content of videos and the role of advertisements just when new non-skippable ad formats are being introduced. My response is currently situated within exhibitions relating to contemporary digital culture and moving images. However, this could also be seen as a prototype for video-sharing platform users, and therefore reaching a much wider audience.    Future developments also include a possible edited version to be uploaded on the most popular platforms. This will require a dedicated single-screen version to be experienced on laptops and mobile devices.  

  • Project [More]

    Decoding the V-sign

    The newspaper “Decoding the V-sign” explores the signification of the V-sign. The combination of photo-edited images triggers the viewer, leading to a continuous construction of new interpretations of the V-sign. The image’s faded visual effect persistently recalls and comments on the circulation and ubiquity of the V-sign, removing the ‘familiarity of the image’ and opening up new denotations. The project aims at actively engaging the viewer in a critical way and to heighten and increase society’s awareness, sensitising the conscious and unconscious gesturer towards the importance of gestures as a carrier of meaning. The choice of the newspaper as medium aims to expose the research to a broader audience outside of design, art-based and academic realms, as it is a channel with strong circulation that reaches a wider public of consumers. Further decodification of other gestures as case studies could be identified as future development of the research.

  • Project [More]

    From the Book to the World back to the Book

    “A book is a sequence of spaces. Each of these spaces is perceived at a different moment - a book is also a sequence of moments.” Carrión, 1975. This project attempts to realise the notion of the Book in its most poetic sense demonstrating the role of the graphic designer as Researcher, Author, Designer, Producer and Reader. Focusing on the performative qualities, the material properties and the physical form the Book is examined as a display device and an alternative exhibition space. The spatial and temporal qualities attest the correlation between the structures of a three-dimensional space and that of the book. Adopting, appropriating, and iterating techniques introduced by the genre of Artists’ books I am exploring the role of design employing methods of documenting and presenting. The outcome is a conceptual realisation of the structure and qualities of the book, transforming it into a performative object.

MA Graphic Media Design Full Time 2016

Studio

Events

James Langdon — Primitive Grids

James Langdon

The Design School, LCC are excited to welcome James Langdon to present Primitive Grids –  Tue 31 Jan, 5.30pm, Lecture Theatre A James Langdon has carved out a…

The Design School, LCC are excited to welcome James Langdon to present Primitive Grids –  Tue 31 Jan, 5.30pm, Lecture Theatre A

James Langdon has carved out a unique practice that fully integrates his design, editorial, and curatorial pursuits. As one of six directors of Eastside Projects—an artist-run exhibition space dedicated to promoting cultural growth in its home town of Birmingham, England—Langdon designs and edits many of the organization’s publications and is responsible for creating a series of experimental manuals that explore its mission through ideas as varied as urban renewal, adhocism, and public engagement. In 2013, Langdon founded the itinerant School for Design Fiction, working with students to investigate the storytelling inherent in the design process, the emotions embedded within an artifact, and the benefits of living in speculative worlds.

As a curator, Langdon organized Arefin & Arefin: The Graphic Design of Tony Arefin, an exhibition celebrating the overlooked but highly influential British graphic designer; Book Show, exploring the form of the book; and a restaging of Norman Potter’s In:quest of Icarus at the Stedelijk Museum, Amsterdam. Langdon has been guest lecturer at schools around the world, including Werkplaats Typografie (Arnhem), Jan van Eyck Academie (Maastricht), and Konstfack (Stockholm). He is the recipient of the 2012 Inform International Award for Conceptual Design, presented by Galerie für Zeitgenössische Kunst, Germany.

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Events

Guest Practitioner Series — Traven T.Croves, Bricks from the Kiln

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We are very pleased to welcome Traven T.Croves, comprised of Matthew Stuart & Andrew Lister, to the MAGMD Guest Practitioner Series 2017 on Monday 30 Jan, 4.30-5.30pm, D209.…

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We are very pleased to welcome Traven T.Croves, comprised of Matthew Stuart & Andrew Lister, to the MAGMD Guest Practitioner Series 2017 on Monday 30 Jan, 4.30-5.30pm, D209. Matthew will discuss their publication, Bricks from the Kiln.

In their own words:

For us, ‘Bricks from the Kiln’ implies something in flux and liable to crack. A piece of a larger structure. A part of a sum. Fittingly, many of the bricks included here stem from larger bodies of work and ongoing research. Some are chapters lifted from forthcoming books, or investigations begun but forced aside. Others are unrecorded talks, or previously unpublished autonomous editions in their own right. In preparing BFTK#1 we were keen not to arbitrarily hang the issue on an overarching theme before the fact, but rather to adopt a more responsive approach, allowing connections to develop organically through both the editorial and design processes.

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Events

Guest Practitioner Series — Marwan Kaabour

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We are very pleased to welcome MAGD alumni Marwan Kaabour to the MAGMD Guest Practitioner Series 2017 on Monday 23 Jan, 4.30-5.30pm, D209. Marwan Kaabour is a Beirut-born, London-based…

We are very pleased to welcome MAGD alumni Marwan Kaabour to the MAGMD Guest Practitioner Series 2017 on Monday 23 Jan, 4.30-5.30pm, D209.

Marwan Kaabour is a Beirut-born, London-based graphic designer. He graduated from the American University go Beirut in 2009 and later received a Master’s degree from the London College of Communication in 2011.

Kaabour’s experiences comes from working across a variety of design disciplines and a broad range of sectors, ranging from publication and book design, exhibition design, brand identities, teaching and workshops. He has worked independently as well as part of design studios in Beirut (Mind the gap) and London (Barnbrook).

His approach to projects is informed and supported by research and critical analysis of the project’s particularities, with the aim of creating a bespoke, appropriate and exciting response.

He is currently a designer at Barnbrook, one of the UK’s most celebrated and highly regarded design studios. His clients include Art Basel, Victoria & Albert Museum, Thames & Hudson, South London Gallery, Serpentine Galleries and Somerset House.

Events

Guest Practitioner Series — The Demystification Committee

Offshore Winter Collection 2016

  We are very pleased to welcome The Demystification Committee, chaired by Oliver Smith & Francesco Tacchini to launch the MAGMD Guest Practitioner Series 2017 on Monday 16…

 

We are very pleased to welcome The Demystification Committee, chaired by Oliver Smith & Francesco Tacchini to launch the MAGMD Guest Practitioner Series 2017 on Monday 16 Jan, 4.30-5.30pm, D209. The series this year sets out to discuss the role of criticality within and across contemporary design practices.

The Demystification Committee is a collaborative framework set up to investigate the globalised, extra-state, covert systems and large-scale networks, processes and technologies that shape our society.

Through artistic intervention, custom-made tools and machines, public engagement and experimentation, the Demystification Committee investigates clashing technological and societal trajectories.

Going beyond the use of specific techniques, tools or technologies, the Demystification Committee experiments with alternative narratives to the dominant myths surrounding technology and society.

Announcements, Projects

EP Vol.2: Design Fiction

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Produced as part of the EP Inlab whilst Paul Bailey was in residence at the Jan van Eyck Academie, EP Vol.2: Design Fiction includes a new chapter from…

Produced as part of the EP Inlab whilst Paul Bailey was in residence at the Jan van Eyck Academie, EP Vol.2: Design Fiction includes a new chapter from Will Holder’s The Middle of Nowhere:

Will Holder’s The Middle of Nowhere is an adaptation of William Morris’s News from Nowhere (or, An Epoch of Rest, Being Some Chapters from a Utopian Romance) of 1890 – a description of a 2004 society rooted in Victorian socialist ideologies. The Middle of Nowhere, also set in the future, follows Morris’s original chapter structure, assembling and publishing itself within the context of various writing commissions. These pages were written in response to conversations with Paul Bailey and James Langdon.

After the first EP volume on the activities of the early Italian avant-garde, the second volume in the series identifies the current fascination with fiction across art, design, and architecture. Practitioners and theorists explore this strategy by pushing the debate into both speculative and real-fictitious terrains. Newly commissioned interviews, artist projects, and essays shed light on topics such as parafiction and algorithmic ambiguity. Included in the volume is one of the final interviews to be published with novelist and semiotician Umberto Eco; a conversation with Bruce Sterling, in which the science-fiction author responds to designers who reference his writings; and design theorist Vilém Flusser’s 1966 essay “On Fiction,” in its first English translation.

The EP series fluidly moves between art, design, and architecture, and introduces the notion of the “extended play” into publishing, with thematically edited pocket books as median between popular magazines (“single play”) and academic journals (“long play”).

Edited by Alex Coles with EP Inlab
Design by Experimental Jetset
Published by Sternberg Press

Events

Invitation — MA Graphic Media Design Graduate Show 2016

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Private View: Tuesday 6 December 6-9pm We are very pleased to invite you to the Postgraduate Shows 2016. The MA Graphic Media Design course will present a selection…

Private View: Tuesday 6 December 6-9pm

We are very pleased to invite you to the Postgraduate Shows 2016. The MA Graphic Media Design course will present a selection of our graduate work in the Upper Street Gallery. This year’s show will include responses to a range of timely subjects from fields as varied as literature, politics and architecture through the practices of editorial design, installation, performance, film-making, generative type design and many others.

Show runs from 5-10 December
Opening hours:

  • 11am-7pm Monday-Friday
  • 11am-4pm Saturday-Sunday

RSVP to the Private View

Announcements, Projects

Positioning Practice Publication Launch

Photo: Vanessa Price

Tony Credland and Vanessa Price are due to launch Positioning Practice, a new annual publication that encourages understanding of the graphic designer as researcher. Through discussion of wide-ranging…

Tony Credland and Vanessa Price are due to launch Positioning Practice, a new annual publication that encourages understanding of the graphic designer as researcher. Through discussion of wide-ranging postgraduate workshops it repositions graphic design research as a critical act of questioning and a form of cultural and visual commentary.

This first issue of Positioning Practice discusses Staging the Message, a five day collaborative workshop given by Els Kuijpers and Jan van Toorn in November 2015 at London College of Communication. The cross cultural workshop included postgraduate and PhD students from seven different nationalities with design backgrounds ranging from graphic design to moving image to branding and identity. Beginning with the central premise that design is a cultural producer of meaning Staging the Message encouraged participants to collect images in response to their self-initiated research subjects. These image collections, from primary and secondary sources, became the objects of study for subjects including: inner city regeneration, the self-portrait in the digital era, the fictional lifestyles promoted through advertising and the political and metaphorical use of the wall to separate nations.

Pick up a copy at the MA Graphic Media Design Graduate Show.

Projects

Paul Bailey contributes to Echo Project

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Paul Bailey contributes to Echo Project now available to access online via http://echo-project.com/ Extract: Echo is a reverberation of an original sound after this sound has stopped or…

Paul Bailey contributes to Echo Project now available to access online via http://echo-project.com/

Extract:

Echo is a reverberation of an original sound after this sound has stopped or is in the moment of evaporating. Not a background noise, it resonates and doubles a tonality, pitch, vocation. I am thinking about the experience of echoing in a particular mountain landscape, something to do with a sound being thrown, trashed towards a wall or large rock–and returning in a ghostly and consuming fashion.

You mean to say, echo is a fabrication of a doubling and a  travelling sound . . . coming into being by listening.

Project initiated by Verina Gfader and Ruth Höflich
Website designed by LCC alumna Mariana Santiago

Events

Alumni present final lecture of term

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Cat Drew, Policy Lab (MA Graphic Design, part-time 2015) and Joanna Choukeir, Uscreates (MA Graphic Design, full-time 2007) to present the final Design School lecture of the term,…

Cat Drew, Policy Lab (MA Graphic Design, part-time 2015) and Joanna Choukeir, Uscreates (MA Graphic Design, full-time 2007) to present the final Design School lecture of the term, taking in subjects and practices concerned with designing with data.

Projects

Rebecca Worth recalls the Drive of Walking masterclass

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Current MA Graphic Media Design (part-time) participant, Rebecca Worth recalls her time during the Drive of Walking masterclass at the Jan van Eyck Academie, the Netherlands. Photos via…

Current MA Graphic Media Design (part-time) participant, Rebecca Worth recalls her time during the Drive of Walking masterclass at the Jan van Eyck Academie, the Netherlands. Photos via Rebecca’s blog.

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John Berger wrote, “Stories walk, like animals and men. And their steps are not only between narrated events but between each sentence, sometimes each word. Every step is a stride over something not said.” The Drive of Walking master class aimed to make each step eloquent and to chart the unseen.

The master class examined walking as a part of art practice in pragmatic, artistic and theoretical respects. The hilly landscape of South Limburg and the urban space of Maastricht (as part of the cross-border “Green Metropolis”) form a natural context for physical and mental walks. The questions of how one walks, what conditions or protocols define the walk, the form in which these are presented, what questions the participants in the master class must answer and what must be left to the public, were all relevant topics for The Drive of Walking.

The workshop was led by Yeb Wiersma and David Helbich, with guests Marcus Coates, Esther Polak, Jan Rothuizen and curator/writer Rieke Vos.

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Current reading, watching, listening in the MAGMD studio

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