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

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Site design and build: Oliver Smith

Participants

  • Project

    DAMNED GREEN

    DAMNED GREEN is a publication that sits within a larger research project titled The Green Book, The Red Book, and The Blue Book. The research is positioned within the field of political design, and is intended as a think tank for ideas about power and leadership, the status quo and subversion, representation and reproduction. The key inquiry of the research is to establish the original network behind the production and diffusion of The Green Book, the ideological frame of former Libyan dictator Muammar Gaddafi.

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  • Project

    Better Babies / Higher Humans

    Better Babies/Higher Humans is a Design Fiction narrative that combines visual language and digital interactivity to expose gene editing as a controversial technology for designing human beings in the near future. Which limits should be defined between curing hereditary diseases and ‘enhancing’ genetic traits that are subject to personal preferences? The project methodology is based on research through design: a critical language is formed from the visual analysis of historic and contemporary artefacts associated with eugenics and the biotech industry. The final outcome illustrates a scenario in which a new form of eugenic rhetoric is employed to promote the commercialisation of gene editing.

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  • Project

    commonpractice.info

    A Common Practice presents an intention, a methodology and a terrain. It is a proposition for a design studio and ongoing research inquiry which takes the context of accelerated culture as its starting point. It explores the methodology of digression and association to reshape practice around values of the common(s). The briefly vacant site, commonpractice.info, marks the terrain of anticipated dialogue, which will emerge through writing, intimate conversations and group discussions. The project framework – roam, traverse and trespass – is navigated through an expanding index, and prompt us to rethink relations to self, labour and the commons. Website evolving in conversation with Jake Dow-Smith

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  • Project

    Flash study

    A dummy hand grenade from the film 'Full Metal Jacket' is held in the Stanley Kubrick Archive at London College of Communication. The status of this object has been used as a case study to address a broader research question: ‘How can the perception of an object be problematized through graphic design?’

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  • Project

    Superabundant Flow

    The simplest and most ordinary of objects can enable us to look at things differently. Focussing upon something as seemingly commonplace as a shipping container, the intent of my project is to critically address an invention which is actually steeped in relevance and consequence. Three short films depict the journey of the commodity. Incorporating simple, vignetted monologues by the workers who physically handle the steel boxes and what’s inside them; enormous ships being observed and catalogued from a windy sea shore; through to the pulsating rhythm as containers pass through railway stations largely unnoticed. All part of the ‘Superabundant Flow.’

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  • Project

    Here be Dragons

    Here be Dragons is a book that describes Terra Ignota, a mysterious island, autonomous from the rest of the world – ‘Mainland’ – and alien to the notions of law and government. The expression ‘Here be Dragons’, in fact, refers to the medieval cartographers’ practice of decorating maps with terrifying creatures representing what might be lurking in uncharted territories. Terra Ignota, however, is not a far away land in an undefined past; it is, instead, a physical representation of how the darknet is being represented by the media. The book creates a parallelism between the fascination and terror of remote lands in the past, and the spread of exaggerated fantasies and fears around the darknet today.

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  • Project

    Expanding the Field of Architectural Publishing

    EF—AP is an open platform for the dissemination of discourse on architectural publishing. It aims to gather diverse practices about the discipline that push forward its boundaries and establish discussions with transversal fields of practice. The project establishes a methodology in which the speculative publication is the source for discussions, research and conversations. The results are subsequently distilled into a collection of separate publications which are ready to be updated, contested, and subverted.

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  • Project

    The Order of Critical Shape Givers

    The Order of Critical Shape Givers is part of a larger research about contemporary ‘ugly’ aesthetics in critical graphic design practices. Based on a speculative approach, the project unfolds a possible/plausible narrative where graphic designers are forced—by the progeny of the current populist, anti-globalisation, and anti-cultural movements—to retaliate behind visual esotericism to express their critical voice. Through the conception of ideological artefacts of a fictitious secret society of graphic designers, The Order of Critical Shape Givers explores the paradoxical qualities of ‘ugly’ aesthetics, both gathering and fascinating while isolating and barren.

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  • Project

    DinnerData

    Our perception of food is greatly influenced by how it looks. I am suggesting we use this knowledge to help people make better choices around food. This project also touches upon some of the concerns around the food industry: Food scares make us doubt what a healthy diet is, we waste loads of food and the food industry is the main cause of many environmental issues. Designers have a growing responsibility to facilitate change. If what we see has such an important role, could the appearance of food guide us to a healthier, more responsible and more sustainable diet?

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  • Project

    Leisure This Way

    Leisure This Way explores how the boundaries of work and leisure time are continually shifting due to the expectations associated with both terms and their environments. Experience Factories are environments which provide (and capitalise on) a steady stream of pleasurable experiences to a society that has come to expect them. These Experience Factories prompt, capture and distract audiences whilst providing as many options for leisure as possible. Within the publication, writing is accompanied by three visual essays that utilise Westfield London as a case study to highlight the semiotics of the leisure industry and its ability to control consumers’ actions and time.

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  • Project

    ~ Exploring cross-signification, shifting meaning & punctuational appropriation in a digital age

    This project uses the tilde (~) to discuss diverse historical, linguistic and social themes. Not having as fixed a meaning as, for instance, the question mark, frees ~ up to be used in many ways – be that in mathematics, programming or joking around on twitter. The process begins by considering how graphic marks come to carry meaning, and whether or not their shape influences how we attribute meaning to them. It goes on to explore several of the more widely-used or important historical meanings of the tilde (abbreviation, approximation, destruction, elongation, sarcasm/irony), connecting associated themes to discuss wider contemporary communication behaviours.

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  • Project

    Hantin

    HANTIN is a hybrid modular typeface that combines of Hangul and Latin letter forms and writing systems. This typeface enables a reader to understand Latin phonetic sounds without needing to study English beforehand. Conversely, the typeface also allows a reader to understand Korean phonetic sounds without the need to study Korean. HANTIN consist of two distinct styles: HANTIN A and HANTIN B. HANTIN A is arranged by following the Korean writing system and allows English speakers to read Korean. HANTIN B writes both alphabets in the linear Latin writing system. In this way, Korean speakers can read Latin letters. This typeface is for the Korean or Latin speakers who want to know or learn about the other’s language.

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  • Project

    Aggregate of Artefacts

    My objective is to question and reveal what seems to have ceased to astonish us within the everyday, provoking alternative ways of perceiving and questioning what it is that consumes our space. The method of ‘defamiliarisation’ has been a key theory that has informed my work, that is, ‘making strange’ by presenting common things in unexpected or confusing ways in order to delay and enhance perception of the familiar. Collecting disregarded printed matter, I organize and assemble my material deciding how it is to be read, negotiating between the process of intervention and its presentation.

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  • Project

    Sociolegal Model Making

    This project is rooted in my identity as professor of law specialising in ‘sociolegal’ research — that is, research that interprets law as a social phenomenon. It explores the risks and rewards of using design-based strategies, especially model-making, to enhance sociolegal research. The practical resolution is a set of five artefacts held in an online repository that are designed to be easily printed on A4 by sociolegal researchers, and are intended to provoke and facilitate their first steps into model-making. The project draws on experimentation involving around 100 other researchers; and literature and practice from social, policy, industrial and graphic design.

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MA Graphic Media Design Full Time 2017

MA Graphic Media Design Full Time 2016

Studio

Events

Guest Practitioner Series — The Demystification Committee

  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

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

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

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

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

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

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.

Events

Design Activism Research Hub presents Visual Impact: Liz McQuiston

Author of Graphic Agitation and Suffragettes to She-Devils, Liz McQuiston, joined us at London College of Communication on 09 November to talk about her most recent book, Visual…

Author of Graphic Agitation and Suffragettes to She-Devils, Liz McQuiston, joined us at London College of Communication on 09 November to talk about her most recent book, Visual Impact: Creative Dissent in the 21st Century. Liz reflected on how much of the material in the book is already disappearing and the speed at which the world landscape and politics changed while putting the content together – particularly in the case of the Arab Spring and Syria.

Tony Credland is a founding member of the Design Activism Research Hub; the group who initiated and hosted the event.

Uncategorised

Richard Ashton designs identity for Deptford X: Fringe

Current MA Graphic Media Design (part-time) participant, Richard Ashton, designs identity for Deptford X: Fringe in collaboration with Josie Tucker. Deptford X: Fringe showcased the work of locally-based…

Current MA Graphic Media Design (part-time) participant, Richard Ashton, designs identity for Deptford X: Fringe in collaboration with Josie Tucker.

Deptford X: Fringe showcased the work of locally-based talent through an open call that invites artists to come and install work in Deptford.

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Announcements

Carlos Romos Melgar launches Cuarto: Issue 2

Current MA Graphic Media Design (full-time) participant, Carlos Romos Melgar launches Cuarto, issue 2: Abnormal. Cuarto is a serial publication focused on the adjacent fields of architecture, understood as…

Current MA Graphic Media Design (full-time) participant, Carlos Romos Melgar launches Cuarto, issue 2: Abnormal.

Cuarto is a serial publication focused on the adjacent fields of architecture, understood as an open discipline that intervenes in a tangential and cross-cutting manner at many levels in the cultural scene and the way of life.

Issue 2: Abnormal studies the new ways of acting, thinking and representing architecture. In this issue we reflect about the architect’s role and how the weirdness takes part in the professional scope. We also devote time to understanding the creative use of the mistake and the hypocritical dialectics of retail architecture. These are some of the themes with which we portray a contemporary idea of abnormality in architecture.

Contributors: amid.cero9 (Cristina Díaz Moreno & Efrén García Grinda), Manuel Benito, Eudes Bonneau-Cattier, Bureau A, Santiago Cirugeda, Francisco García Triviño, María Mallo, Anthony Morey, Ana Peñalba, Philippe Rahm, Luis Úrculo.

Further information: http://cuartomag.net/abnormal/

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