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.
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
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.
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.
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”.
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.
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.
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.
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.
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.
“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.
07 Mar 2017 – 6.45pm to 8.45pm Passagens Session 5: Hands Off Our Revolution This event is open to all UAL students, both undergraduate and postgraduate, UAL staff,…
07 Mar 2017 – 6.45pm to 8.45pm
Passagens Session 5: Hands Off Our Revolution This event is open to all UAL students, both undergraduate and postgraduate, UAL staff, as well as a wider community of invited alumni, practitioners and researchers in this field.Hands Off Our Revolution, a new global coalition of artists and cultural practitioners, is dedicated to affirming the radical nature of art.Join Passagen’s for the first ‘Hands Off Our Revolution’ London event in which artists, cultural practitioners and public intellectuals discuss the ways art can counter the rising rhetoric of right-wing populism and fascism, and its increasingly stark expressions of xenophobia, racism, sexism, homophobia, and unapologetic intolerance.
Ann Marie Peña (Hands Off Our Revolution / Frith Street Gallery)
Help us identify the scope of what the cultural resistance to populism might be, the particular forms and public spaces in which it can and should occur, and how best to support cultural practitioners in their political resistance now!