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.
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.
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.
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
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?’
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.’
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.
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.
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.
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?
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.
~ 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.
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.
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.
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.
We are very proud to present and host With a shift simultaneous realities collide at the invitation of the Graphic Design Educators’ Network. This half-day event will focus on the role…
We are very proud to present and host With a shift simultaneous realities collide at the invitation of the Graphic Design Educators’ Network. This half-day event will focus on the role of writing in/across/through design education and practice with guests – Bryony Quinn, James Langdon and Professor John Wood. Current MAGMD participants will lead a series of provocation sessions exploring notions of visibility within writing. A curated selection of artefacts from the Special Collections and Archives at LCC will be on display, alongside journals from the Writing-PAD archive. A special screening of No Exit – a graphic design opera from the Design Displacement Group – will also take place.
Wednesday 29th March 2017
2 – 5pm (registration from 1pm)
London College of Communication