DPS at LCC // 2018 by London College of Communication

DPS AT LCC 1976 — 2016 Diploma in Professional Studies students have worked at the following organizations: — Apple Headquarters, Cupertino, California Adidas Headquarters, Herzogenaurach, Germany Research Studios, London, Barcelona & Berlin Channel 4, London Barnbrook, London Museum of Modern Art, NYC Tate Publishing, London KesselsKramer, Amsterdam Wieden+Kennedy, Mumbai Pentagram London, Berlin & NYC Greenpeace, London Selfridges Design Department, London Thomas Matthews, London Think Public, London Futerra, London Studio Myerscough, London Nick Bell Design, London Eye Magazine, London Studio Philippe Apeloig, Paris Conran Associates, London Wieden+Kennedy, Portland, Oregon Red Bee Media (BBC TV Centre) Johnson Banks, London The Partners, London & NYC DesignStudio, London Landor Associates, Shanghai & Bejing Condé Nast, London John Morgan Studio, London Why Not Associates, London Mucho, Barcelona Browns Design, London Ideo, San Francisco Airside Nippon, Tokyo MagCulture, London Human Afterall, London Vault49, NYC Dorling Kindersley, London Nexus Productions, London PS.2 Arquitetura São Paulo Spin, London Unit Editions, London Folch Studio, Barcelona United Visual Artists, London Karmarama, London The Times, London Design Imbada, Cape Town Fosters & Partners, London The V&A Museum, London Sagmeister Inc, NYC Prologue, Venice, California Royal Society of Arts, London The Design Museum, London

Credits

THE LONDON COLLEGE OF COMMUNICATION: LCC nurtures and develops the critical, creative and technical excellence needed to discover new possibilities and practices in creative communications, through a diverse, world-leading community of teaching, research and partnerships with key players within the industry.

OPEN DAYS: If you are interested in hearing more about the Design School at LCC we have open days covering a range of subjects at both undergraduate and postgraduate level.

At LCC, we encourage independent, agile and persistent experimentation that engages the practitioner’s mind, eyes, hands and tools. We contribute to the advancement of our disciplines and the industries and communities we serve through the impact of diverse ideas.

PRINTING: Park Communications parkcom.co.uk

We are for the curious, the brave and the committed: those who want to transform themselves and the world around them. Innovation comes from the margins – from seeing, thinking and acting differently. As a creative community and as a society we are energised and empowered by different perspectives and by collaboration. The heritage and future of our college is committed to producing new knowledge and innovative practices that continue to evolve our disciplines and impact positively on the wider world. DISCOVER MORE: arts.ac.uk/lcc HASHTAG: #LCCDegreeShows DEGREE SHOW: www.lccgmd.com communications@lcc.arts.ac.uk

DESIGN & ART DIRECTION: Alex Hunting alexhunting.co.uk

FONTS: British Inserat Condensed GT Pressura Mono Lyon PAPER: Cover - Cyclus Offset 250gsm Text - Cyclus Offset 115gsm EDITING AND PROOFREADING: Zoe Apostolides zoeapostolides.wordpress.com Nina Crane With many thanks to FHK Henrion, The University of Brighton Archives, Tim Hutchinson and Graham Goldwater, Jamie Hobson and Nicky Ryan, Adrian Shaughnessy, Neville Brody, Jeremy Leslie, Becky McCray, Jo Kotas, John Glasgow, Shaz Madani, Randy Yeo, Fraser Lyness, Loren Platt, Jo Glover, Nicola Ryan, Shinji Pons, Callum Copley, Lucy Brown, Kuchar Swara, Rebecca Lyddon, Danny McNeil, Paul Jenkins, Netta Peltola, Angus Hyland, Daniel Chehade, Jessica Bishopp, Chrissie Abbott, James Medcraft, Charlie Hocking, Hilary Chittenden, Caroline Claisse, Izabella Bielawska, Corin Kennington, Simon Connor and Stephen Cross, Kate Burn, Chiara Astuti, Martina Giulianelli and Anna Cenamo, Astrid Starvo, Eddie Opara, Chris Morley, Jonathan Ellery, Fernando Gurierrez, Nick Bell, Simon Clowes, Erik Spiekermann, Philippe Apeloig and Alex Hunting for their valued contribution to this publication and to the living narrative and achievements of the London College of Communication.

DPS Year

The Diploma in Professional Studies Discover the increasingly diverse destinations of LCC graduates and the professional relationships formed following the success of their directed year in professional practice. The Design School of the London College of Communication proudly offers a Diploma in Professional Studies, a year of professional practice available to UAL students in the third year of their four-year course. This publication features LCC Design alumni and seeks to celebrate the professional achievements of a sample of course graduates. It also interviews individuals from organisations who regularly employ LCC Design School alumni and value the relationship they have with the London College of Communication. As course leader of the Diploma in Professional Studies at the LCC (formerly the London College of Printing) for almost 20 years, I feel very privileged indeed to be part of a design school with such a distinguished history. The course was the UK’s very first undergraduate degree in graphic design led by Tom Eckersley in 1957. Names often associated with LCP are Rolf Brandt, Harry Beck, Derek Birdsall, Antony Froshaug, Brian Grimbly, Fred Lambert, Tom Eckersley, Richard Hollis, David Hillman, Ken Briggs, Peter Gill, Ian McLaren, David King, Hans Dieter Reichart, Teal Triggs and Lucienne Roberts. My ob-

jective with this publication is to update this distinguished narrative with significant contemporary achievement. You will see from the following content that graduate destinations are increasingly diverse as the discipline expands into interaction, experience-centred design, service design, critical and speculative design, design activism and social and environmentally focused practices. The Diploma in Professional Studies offers students the opportunity to experiment with potential professional futures before they graduate by undertaking a series of internships in the UK and internationally, to volunteer, self-initiate projects, collaborate, develop freelance relationships, stage exhibitions or publish work. My research has explored the empowering nature of work-based learning and the importance of being educated in an “experiential” manner, an approach evidenced and explored by many of the graduates in this publication. Sarah Temple Course Leader The Diploma in Professional Studies

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Profile: Netta Peltola

FHK Henrion

FHK

Henrion FHK Henrion founded the Diploma in Professional Studies at LCC in the 1970s. Adrian Shaughnessy, design historian and writer, authored FHK Henrion, The Complete Designer, published by Unit Editions. Here, he reflects on FHK Henrion’s legacy.

Left: Henrion in his study, Hampstead, 1960’s

There are few figures in the history of design who have made such an impact on both design education and developments in the subject discipline of graphic design. While head of the faculty of Visual Communication at the London College of Printing in the 1970’s, FHK Henrion moved seamlessly between teaching and professional practice, encouraging the notion of theory and practice establishing the possibility of practising while still studying design. FHK Henrion set up the Diploma in Professional Studies, a third (optional) academic year within the industry. Today, FHK Henrion is celebrated as one of the pioneers of corporate identity. But it is no accident that the German-born graphic designer should have become a master of identity design. As a teenager he was forced by the rise of Nazism to leave his native country and create a new identity in France, only to be compelled to move again shortly after and forge yet another identity in prewar Britain. Perhaps to build effective identities for others you first have to know how to build an identity for yourself.

FHK Henrion

Henrionâ&#x20AC;&#x2122;s mastery of corporate identity qualifies him for pre-eminence in the world of graphic design, but it is far from his only claim to greatness. In fact, his range of activities, intellectual standing, and depth of accomplishments have no equal in British graphic design. His many achievements are all the more remarkable since, apart from a short period studying textile design and poster design in Paris, he was almost entirely self-taught. When he started working as a graphic designer, the discipline was barely recognised as a profession, yet by the end of his long career it had graduated from a cottage industry to a fundamental component of British commerce and culture. No one did more to bring about this change than Henrion; almost single-handedly he created the model of the modern British professionalised graphic designer. Yet he was also a designer with a social conscience, and in the 1980s he rebelled against the over-commercialisation of the design profession. He forged his early reputation as a poster artist. He designed exhibitions, household products, industrial machinery, interiors, furniture, wallpaper and even jewellery. He was an influential exponent of cross-disciplinary work, and an early advocate of information design. He was a pioneer in design for television, and towards the end of his life (he died in 1990) he also predicted the ways in which digital technology would transform design. He published books, wrote articles, and was the force behind various design organisations engaged in elevating the status of the designer. He was also a notable educator who lectured at design schools throughout the world. He taught firstly at the Central School and then at the Royal College of Art. Latterly he succeeded Tom Eckersley as head of the faculty of visual communication at the London College of Printing (1976-79). Through his work with the Council for National Academic Awards (CNAA), he was instrumental in establishing art and design within the national curriculum. His liking for bow ties, good suits, and well-lit photographs of himself gave the impression of mild dandyism. Yet almost everyone who came into contact with him recognised his fundamental decency. In an obituary written by his friend Saul Bass, the American designer noted: â&#x20AC;&#x153;There is no one I know who has a truer inner compass than Henri. In a world of debased standards and currency, his values were still worth 100 cents on the dollar.â&#x20AC;? With Thanks to Dr Lesley Whitworth at the FHK Henrion Archive, University of Brighton Design Archives, by kind permission of the Henrion estate.

Profile

Atlas

3D Union Jack on top of the British Pavilion at Expo 67, Montreal. Client: Central Office of Information, 1967

Cover for the Future Magazine. As the art director, Henrion was responsible for the total visual appearance of the magazine from 1948 to 1950

Bis. Natur, pos vivere pris menatu satusse abem o ina, Ti. O tem hostanterei publiqu idionsum

Creative Education

Creative Education Professor Neville Brody, one of the most celebrated graphic designers of his generation, LCP alumnus and currently Dean of the School of Communication at the Royal College of Art, speculates on the role of creative education from a unique position.

This Page: All LCC Archive images, Art Direction by Tim Hutchinson. Photography by Graham Goldwater

Having been asked, as an alumnus of the LCP, to contribute a piece to this publication, I find myself conflicted by a number of fundamental issues and questions. This is certainly one of the most challenging times to be in creative education – that is, any form of education that includes such diverse subjects as art, dance, design, music and theatre, all of the “non-STEM” disciplines excluding languages and the humanities. Whether a student or teacher, at primary or doctorate level, the same kind of environment is increasingly the norm – that of decreased funding, increased testing and measuring, misunderstood processes and a growing lack of appreciation of value, which is measured instead in return-on-investment or in numbers. How can we proceed as a nation, and retain the calibre of our creativity, under this kind of pressure? This is the challenge at our feet. The creative industries sit at the heart of our society and our future. Indeed, as we proceed globally towards a world of exponential growth in automation, robotics, artificial intelligence and corporate consolidation, the need for creative thought and action has never been greater. The growth of service and leisure industries will increasingly dominate the financial landscape for non-manufacturing nations like the UK, and for this we need creative minds and skills. The current obsession with the holy grail of “innovation” obscures one key truth – that engineering and technology alone do not supply innovation; genuine innovation arrives only through partnership with creative disciplines such as design and visualisation. In themselves, STEM subjects deliver iterative processes. We are a nation of inventors, and, as such, invention demands leaps of imagination, such as those taught and nurtured in our art and design schools, a journey that starts at nursery school. Students (and parents) are under increased pressure to fund their own education despite the clear contribution they make to GDP and cultural progress. Educators are increasingly overloaded by ever-higher layers of responsibility and pressures caused by cuts to funding and resources. Universities grow their cohorts and look fur-

ther afield to recruit their students; bright individuals who, due to political-immigration headlining, are not permitted to stay in the UK on graduation and benefit the local economy and culture, instead returning home to add value elsewhere. This must change. Schools at every level are under pressure to squeeze or drop all creative subjects, ones, which are deemed irrelevant by regulators and are no longer counted towards the measurement of the health of the school, a measurement used to calculate the income or even survival of that institution. Art school for me was a time of invaluable experimentation, despite the quality of support offered at the time. It is a lesson that I have carried forward with me in my current role in education. For me, the role of education and hence the educator is to catalyse independent thought. We call it the building of “skilled, dangerous minds”, minds, which will hence go out and lead, challenge and change the societies and industries they occupy. We desperately need these pockets of deconditioning, otherwise new ideas cannot happen: these deprogrammed, unrestricted spaces allow for something unimaginable to be imagined, and help us evolve as people. As academics, our role is supportive and two-fold – we teach the skills; we protect the space to free the mind. What is absolutely invaluable is the safeguarding of these spaces for free experimentation in which the individual can grow, unbounded by the need to think commercially or to be constantly assessed. Creative education is relative, not empirical. It is immeasurable, not absolute. Either way, it is vital, and we must support and protect it. Institutions such as the LCC and RCA attempt to safeguard these spaces, still determined to widen participation in creative higher education to both free the mind and teach the craft and conceptual skills required for a world experiencing such exponential change. It is absolutely vital to remind governments and businesses how fundamental creativity is and to retain a space for experimentation, ensuring that interns and graduates are helped to either secure key positions globally or launch their own studios in which their practices can be influential.

Part One

Alumni

Alumni Jeremy Leslie, Shaz Madani, Randy Yeo, Fraser Lyness, John Glasgow, Beccy Mccray, Jo Kotas, Loren Platt, Jo Glover, Nicola Ryan, Shinji Pons, Callum Copley, Lucy Brown, Kuchar Swara, Rebecca Lyddon, Danny McNeil, Paul Jenkins, Netta Peltola, Angus Hyland, Daniel Chehade, Jessica Bishopp, Chrissie Abbott, James Medcraft, Charlie Hocking, Corin Kennington, Simon Connor, Stephen Cross, Kate Burn, Chiara Astuti, Martina Giulianelli, Anna Cennamo.

Alumnus: Jeremy Leslie

1983 – 84

JEREMY LESLIE As founder of magCulture, Jeremy Leslie is respected internationally for making magazines, writing about magazines and now selling magazines.

It’s all about the people, not the place. Anyone who expresses nostalgia for Elephant and Castle in the early 1980s is fooling themselves, however much the stumpy little LCP tower

block might claim iconic status – I remember an over-coloured postcard of the roundabout, the Faraday monument and LCP in the background that was on sale at the college shop. But as I see my younger son prepare for his Foundation course I do feel nostalgia for the unique environment that year provided. Bob, my art teacher at school, knew more about me than I did as he packed me off to LCP for my interview. The highlight of Foundation was life-drawing classes with Nat. I remember them as sunny days drawing to the spacey sound of Iko Iko by the Dixie Cups. It must have rained sometimes, probably to the sound of Buggles. I kept busy screen-printing covers for my music zine, and failed my graphics course interview. But Foundation-course leader Phillipa somehow persuaded the MPD degree course to take me. This fuelled my obsession with William Burroughs and experiments with chance, since chance seemed to be an active force

M-real magazine, Issue 4. Editor: Andrew Losowsky, Art director: Jeremy Leslie, Illustration: Austin Cowdall

for me. The degree course was something else. Although I’d been drawn to LCP for its typography I quickly found my ideas and those of the tutors at odds. It was all too earnest and unaccommodating. I learned a simple lesson – go with the people. There was a small offshoot of the course specialising in the moving image and I focused on that. Steve, John and Alan were alive to politics and wider discourse and saw me through that course, and for similar reasons I took to the history part of the course thanks to Bob. My degree show led with a threescreen polemical tape-slide show about war and the hypocrisy of the arms trade. I enjoyed storyboarding, scripting, pulling all the pieces together as well as designing the layouts to be projected. I was in the Student’s Union and booked bands. I realise now that was my first go at organising events. Utterly selfish highlight: booking The Monochrome Set to perform. Embarrassing footnote:

Fiera magazine, 2014, Magazine to support young product designers

Alumnus: Jeremy Leslie

booking Gary Glitter one Christmas. Another person to thank is the outside assessor who insisted my degree be increased to a First. No idea who it was, I wasn’t wise to industry names. I’ve never been asked my degree mark since, but the confirmation that I was right to turn away from the main part of the course, was really important to me. Stuck in the middle of this was my year out in industry. Normal now, it was unique then. One of the reasons I worked so hard in my final year was my industry experiences: you learn a lot by doing things you don’t want to do. Recreating a scene from The Professionals in an Oxford Street shop? No thanks. Helping Levi’s marketing department dress up as Dexys to mime to Come On Eileen in Wembley? Mmmm… Learning respect for the intricacies of book design at Jonathan Cape with Mon and long lunches in Bedford Square? Yes please. What I see now is that my time at LCP gave me a real love of content.

It was never going to be enough for me to work with graphics alone: I wanted to be involved in the message too. The design that registered with me was record sleeves and magazines – City Limits was my weekly habit and my first editorial job was in their studio the summer I left LCP (thank you, Lesley and Peter). That led to Blitz magazine, where as art director I got to work with great writers, photographers and editors, most of whom have graduated to bigger, better roles in magazines and publishing. Hat-tip to Simon and Carey. If these early roles relied on me learning by trial and error, carrying on my haphazard LCP approach, later I found the basics of design – basics I had felt force-fed at LCP – came to be important too. Managing a design studio takes organisation and attention to detail as well as a refusal to tow the line – chaos vs. structure. The balance between these two extremes is key to my practice in editorial design, and is exactly what I enjoy on a day-

MagCulture Shop, Clerkenwell, 2016

to-day basis: namely, developing a solid structure and seeing how far you can bend it. I’m interested in the story and how best to tell it, not in adopting the latest stylistic devices to help sell more stuff. This is what excites me about the new breed of small independent magazines, and why I’ve moved from observing and commentating to actively supporting them by opening a shop dedicated to the form. The best examples are experimenting with content and presentation without succumbing to immediate commercial needs. And the supreme examples manage both at the same time. At magCulture we make magazines, we write about magazines and we sell magazines. Each part informs the other, and I’m always excited about what comes next. Right now, that means art-directing the fourth issue of Fiera, making plans for a new podcast project and completing the line-up for this year’s Modern Magazine conference.

Aeon.co, Identity and website, 2013

Alumni: Shaz Madani / Randy Yeo

Club Berlin Exhibition Design & Identity, Posters

Alumni: Randy Yeo / Fraser Lyness

Club Berlin, Exhibition catalogue

Eureka Magazine, Infographic Riposte Magazine, Issue Two, 2016

2006 – 07

SHAZ MADANI Shaz Madani, independent designer and art director was a Design Museum Designer of the Year nominee in 2015.

As part of my BA I undertook a DPS year, which really helped me understand the realities of work and how to apply my thinking in a professional context. It not only helped me get a good taste of a spectrum of agencies and working environments, but also, more importantly, gave me a clearer idea of how to approach my final year. I came back with more determination and drive. I knew the direction I wanted to take my portfolio. At the time my BA course was based on a very new and unique approach: it didn’t focus on design for design’s

sake, but rather for the benefit of society. We were taught a lot about developing lateral thinking, designing with responsibility and audience awareness. We focused on getting under the skin of our message and finding the best medium to express it. This had a big effect on my process, and not only taught me to think about the social implications of my work, but also that every project should have a clear, tangible idea behind it. Being a truly great designer is not just about prettifying an outer package, but doing something that carries more depth and meaning. After graduating, it was a fluid and organic transition to finding work. I worked at a number of design studios and eventually started my own practice. My work ranges from publications and editorial, to identities and exhibitions: working with clients such as the Wellcome Trust, Thames & Hudson, Laurence King, MoMA, Giles Duley and UAL. Alongside my studio work, I am the creative director of Riposte, a magazine that profiles and celebrates women working within the fields of design, art, politics, science and music.

2009 – 10

RANDY YEO Randy Yeo is founder and Design Director of Singapore-based design studio Practice Theory and co-founder of Singapores’s first Risograph printing press, Push-Press.

Prior to joining the LCC in 2008, I had completed a Diploma in Graphic Design and worked for a short period of time back home in Singapore. Growing frustrated with design projects that merely served as an extension of the marketing arm, I wanted to further my education at an institution that could push both craftsmanship and my conceptual and critical thinking. The teachings at LCC introduced me to a completely new way of thin-

king, making and understanding design. It was a process-driven education that placed thinking-through-making at the forefront of form, content and concept development. To quote Anthony Dunne and Fiona Raby, design is ideological. Most significantly, the LCC education helped to develop a stand on what design is, or was, or could be. It opened up avenues of discourse about the design profession in an increasingly digital and automated world. One of the pressing questions I had was, “What happens when design is situated in the ‘real’ world?” I wondered how deadlines, budgets and clients would affect the way design was practised. DPS served as the perfect test bed. The DPS year saw me having stints at Bark Design (then-studio of my tutor Tim Hutchinson), Bunch and SEA. It was a fruitful year. I came back to Singapore in 2011, and started my own practice in 2015. The education at LCC has had a huge bearing on how I see and operate the studio. Recently, my designer commented that she felt like she was back at university and I think we could not have been paid a better compliment.

2007 – 08

FRASER LYNESS Currently Director of Graphic Journalism at The Telegraph and formerly designer at The Times, Fraser Lyness finds inspiration in dense data and information.

My intent was to always cultivate some sort of originality during my education, to have the ability to create ideas in response to a topic. Education isn’t defined by a certain amount of time enrolled on a course or the concrete structure you study in. The people inside the building – their efforts, expertise and experience define your learning and I was lucky enough to have mentors and tutors who enabled me to continue an education beyond my university years at LCC.

At secondary school I became familiar with Don McCullin’s work and began to consider the term “visual communication”. The message in his photos is universal and direct – something that to this day has always served as a vital bit of development in my appreciation for storytelling. Once at LCC, the decision to undertake the DPS was quite an easy one in the end: what it offered was an insight into the working industry of graphic design and the opportunity to walk naively into studios and workspaces without the pressures of a career to live up to. I was lucky enough to start my professional life working on Eureka magazine, which was a science magazine published by The Times. The newspaper’s design Editor Jon Hill had created a little ecosystem for design talent at the paper, in which ideas were shared, results were evaluated and he had convinced the rest of the paper that design was a necessary consideration in journalism. I was lucky enough to have Matt Curtis as an art director, who has a fantastic talent for designing narratives. Those DPS experiences and references have proven invaluable in dictating my ambition after LCC.

This Spread: Fraser Lyness, LCC 3rd year Sketchbook: Visualisation of music

Alumnus: John Glasgow

Gatorade Mural, Brooklyn, 2015

“THE COURSE AT LCC SHAPED OUR FUTURE AND IT WAS HERE WHERE WE LEARNT THE IMPORTANCE OF COLLABORATION AND DEVELOPED A LOVE OF CRAFT”

2000 — 01

JOHN GLASGOW John Glasgow co-created Vault49, the multi-awarded design studio that he and Jonathan Kenyan set up in New York City in 2002 – the same year they graduated from LCP.

I graduated from the Graphic Design BA at the London College of Printing in 2002. Vault49 was born while Jonathan Kenyon and I were in our final year at LCP. The course shaped our future and it was here where we learnt the importance of collaboration and developed a love for craft. These were two important lessons that helped establish Vault49’s DNA. Jonathan and I met in the college screen-printing studio where we found ourselves admiring (and envying) one another’s work and started collaborating on projects. The name Vault49 came out of a branding class at university. Rather than creating a fake product or rebranding an established one, Jonathan and I worked on developing

our nascent studio. The name derives from a hands-on approach to design, with the “vault” being the nickname of the cupboard under the stairs where the printing equipment was stored. The “49” comes from our first location – a student house at 49 Addington Square, London. In the first two years of business working on some fun and diverse commissions, we started to attract clients in the US. Born and bred in London myself and with Jonathan spending the past six years studying in London from Huddersfield, we made the decision to change our lifestyles and try our luck abroad. In 2004, we moved to New York and from literally the first day our studio (a spare bedroom at this time) had great success landing a large range of commissions. We began to evolve organically from this point and we brought in designers and artists whose skills complemented our own. Since leaving college we have always had an off-site screen-printing studio, but we recently moved into a 2,500sq ft. office in the heart of Manhattan, where we now have a full onsite screen-printing space set up in the office. The past couple of years have been spent positioning the studio as more of an all-round creative agency and working with clients to get involved earlier in the creative process, where the company can have more impact. From the birth of the company, our guiding principle was “more is

more”. It has to be beautiful and relevant at the same time. It has to have an element of the unexpected, and our favourite work has viewers finding new things each time they look. This is true whether it’s a large-scale experiential event or a poster campaign. If I were to try and describe our studio style, I would struggle. On a typical day in the studio, we could have someone preparing screens to print in one corner, the creative director briefing the latest branding project in another, the accounts service team buzzing around on the phone or fighting to book one of the two conference rooms for client meetings, the CGI team crafting away on key visuals or, as of last week, experimenting with dead cockroaches for a commission. Clients tell us that they come to us because we don’t just have one house style – we have a wide range of styles to offer and are constantly evolving the kind of work we do. The team has significantly grown in the past few years and we are now a studio of 26 people and house a talented branding, CGI and illustration team, account services and strategy: but what is important to us is that these teams collaborate at every opportunity to create the best pieces of work our studio can produce. There’s one thing that we have been passionate about replicating within our studio, and it’s the inspiring and diverse college environment we experienced at LCP.

An extract from HEAT, by Sir Ranulph Fiennes, published by Thames and Hudson by Taschen on 2015 and another one here and we know

Alumna: Beccy Mccray

‘Forms’ commissioned by the Cultural Olympiad for National Media Museum, 2012

2000 — 01

BECCY MCCRAY Becky McCray is an artist, activist, educator and founder of Crafternoon, when not working as a creative producer at Nexus productions & Interactive Arts.

After a shaky start to my degree, preferring partying over homework, and trying out every single pathway of the GMD course (from type, to information design, to illustration – much to the annoyance of my tutors), I decided to take the DPS year. This choice was mainly fuelled by the chance of taking a “year out” in sunny Sydney, Australia, following my boyfriend there with his job. Despite going for reasons not applicable to my diploma, this actually turned out to be one of the best decisions I ever made – being in “the real world” where suddenly it all became clear, although being creative for a living is actually quite hard

work! Channelling my enthusiasm and creativity, I worked as a junior designer for Attik and a shoot runner for RSA Films among others; on returning to the UK I worked as a runner on productions for ITV and MTV, getting the chance to shoot artists like Ronnie Size in Ibiza, and rather less glamorous jobs such as buying pants for (the late) Jeremy Beadle. Upon returning to LCP I knuckled down, finally settling on the “moving image” GMD course pathway. “A changed student!” my tutors crowed. I graduated with a 2:1 and immediately went back to work on an MTV production at the same company. And 15 years later I’m still with the same boyfriend I followed to Oz. I explore playful, socially engaged art and design using a diverse approach that includes intervention, installation, participation, print, paint, or whatever media necessary to create imaginative acts of resistance and more human moments in the world. Seeking to break down boundaries between art, activism and everyday life, I ultimately aim to spread joy and inspire positive change at a grassroots level, using creativity to raise awareness of environmental issues and the social ideals that go hand-in-hand with sustainable and happy lives. I also work under the name Crafternoon Tea Club, a collective which explores participatory and community

art, combined with activism and DIY craft-based traditions that can take any form, from games, happenings and installation to collage, baking, parties and painting – or just being nice to people. Crafternoon Tea Club acts as both curator and collaborator; creating frameworks in which unexpected situations can occur. It aims to blur the line between artist and audience, bringing people together through the sharing of materials and ideas, using collective powers for the greater good, creating a positive vision of a more sustainable and socially just future – and having a good time while we do it. My work has been commissioned by organisations such as the Jerwood Gallery, Turner Contemporary, The Olympic Park Legacy Company, The Barbican, National Theatre, Secret Garden Party, the ONCA Gallery for Arts and Ecology, Arts Council England, The De La Warr Pavilion, Home Live Art, Hastings Borough Council, Create London, Supermarket Sarah, the Women’s Institute and a residency in Brazil’s largest favela. My projects have been featured in publications such as The Guardian, It’s Nice That, Frankie, Interview, Oh Comely, IdN, Amelia’s Magazine, Grazia, AnOther, Trend Hunter, British Library “Inspired By”, BBC, The Independent, and The Community Lover’s Guide to Hackney.

Alumna: Jo Kotas

Smile for London, Film Still, Meme Partnership, 2011/12

2000 — 01

JO KOTAS Creative director Jo Kotas specialises in social change through creativity. She founded ‘Smile for London’ bringing talent and culture to the digital screens of the London Underground.

A four-year course or a three-year course: that was the question, and it was keeping me awake at night while on my Foundation at Chelsea. After some deliberation the fouryear option won; I chose LCP for the Diploma in Professional Studies – it offered invaluable industry insight and allowed me to break out of the student mindset, applying practical creative thinking and problem-solving skills in a professional environment. Over the course of the year I worked in film and TV, before concluding in a New York-based agency. During this time I made a wide va-

Red Bull Music Academy, Bunch, 2010

Smile for London, Identity, 2011

riety of diverse professional connections; the industry year provides an opportunity to try out various companies and areas of the industry without the need for long-term commitment. It can also be used as a wonderful opportunity to travel and experience different cultures and working practices first-hand. Shortly after graduation, I was offered a position at BBC Broadcast as a promos designer. BBC Broadcast was a creative behemoth. There was a large team of graduates and we became very close while learning industry standards. I got immense satisfaction out of seeing my work across the BBC channels and learned so much in a small amount of time from some of the best in broadcast. However, there was a downside in that I felt like a small cog in a massive machine – with little or no control over my direction. That said, most large renowned agencies are a fabulous “trust” card to have on a young designer’s CV and help greatly in opening doors. I came to realise that the first two years of work after graduation quite often establish young designers and their professional reputation. I hopped onto an independent rollercoaster in the form of the fabulous Bunch. I joined as a motion designer and was made partner and director, then after about three years evolved

to managing director. Being my own boss with partners was incredibly liberating and came with responsibility that enabled me to develop my creative-management skills. I realised that your career can take you in any number of directions - its important to be in control and constantly reflect on this. Consider the life contentment checklist to help you make decisions: 1) Job joy 2) Money 3) Down time. If all are ticked you’re onto a winner. If one or less are ticked you should probably consider making a change. Our first project was Smile for London - the first ever digital art exhibition on the London Underground – we took over the Tube platform screens to uplift and inspire recession beaten commuters during the gloomiest moments of January. The exhibition ran for 2 weeks in January 2011 across 10 key tube stations and featured 34 films by celebrated artists and emerging talent. We launched an exhibition at The Museum of London, which also hosted an above-ground exhibition of the films for the same two weeks. The following year, in 2012, we returned to the Tube screens with ‘Word in Motion’ in response to the London Riots. We hoped that by celebrating words as a form of self expression, London’s youth would be inspired to pick up the mighty pen.

Alumna: Loren Platt

2004 — 05

LOREN PLATT Loren Platt is the founder of Work It, FAM and W Project. To mark the 100th anniversary of International Women’s Day in March 2011, she set up W Project with creative partner Teo Connor.

I completed the typographic pathway, part of BA (Hons) Graphic and Media Design in 2006. I enjoyed working in a conceptual way with both type and image and learned a broad spectrum of visual comunication techniques using various media, including photography, screen-printing, digital, film and 3D. I have continued to use all of these methods of communication throughout my creative practice. I was taught how to approach a brief and think creatively, working in groups and independently on self-initiated projects. My teachers were all practising in industry and showed me

Can’t Knock The Hustle, T-shirt design, 2011

how to combine theory and visual experimentation to communicate my ideas; this time at LCC shaped who I am as a creative practitioner. I also met my current business partner on my course and still regularly work with many of the people I met during my time at LCC. It has created the foundations of my creative network. The year in industry was one of my highlights: it gave me a completely different type of education from that of academic practice. I completed several design internships at agencies and magazines and got my first taste of industry, giving me a realistic reference point of what it was like working in various design environments. These experiences shaped the way I’ve run my own studio, how I work with interns and quickly made me realise I wanted to create my own environment to work and exist within. I went to New York for six months to study at the Fashion Institute and completed internships there; this gave me a whole new cultural experience. Instinctively I never settled on one medium: I was reluctant to be categorised or defined as a creative, and I now realise this is due to the creative freedom I received throughout my education at LCC. This has become my defining characteristic and is actually my greatest strength. I have

a holistic approach to every project and have gained broad experience and knowledge of all areas of visual communication. I understand my audience and what I want to say, I create experiences, videos, digital communications, print, exhibitions combining music, art, design and culture to create an active dialogue in my community which communicates the things that are important to me. Entrepreneurialism is key: I build independent brands that embody a message and create genuine creative communities. Each brand has become a self-sustaining enterprise and organism that takes on a life of its own that’s bigger than me – they continue to evolve and grow, dictated as much by the audience as by the ever-expanding teams. My education at LCC and the DPS in particular gave me valuable experience and the ability to think creatively, multitask and see things from a wider perspective. Most recently I am in the process of developing my own art practice, combining sound and immersive visual installations. In the ever-changing landscape of east London I am using the lessons learned throughout my education, now more than ever, to find new ways to survive as an independent creative. The journey continues! Thanks LCC!

Womean, Self-published W project zine produced for our fifth anniversary, 2015

Top: The Journey Is The Treasure, 2013. Bottom: Super Woman at Tate Modern, 2012

Alumna: Loren Platt

Alumni: Jo Glover / Nicola Ryan

Alumni: Nicola Ryan / Shinji Pons

The Telegraph website, Culture, 2015

Alexander McQueen press folder photographed by Simon Sorted

Tokyo 2022 Olympics Pitch at Barnbrook, 2014

The Telegraph edition app, 2015. A digital edition of the printed paper, designed to evoke the experience of flicking through a newspaper

2002 – 03

2008 – 09

JO GLOVER

NICOLA RYAN

Jo Glover daily confronts design history as senior designer at the V&A Museum overseeing 2 & 3d design for all forthcoming exhibitions.

Five years after graduation, Nicola Ryan is currently Deputy Creative Director at The Telegraph, formerly Head of Digital design at The Times.

Without the DPS experience I don’t think I would have had the career I have. Although the College immerses you in conceptual thinking, there isn’t always an emphasis on learning the software, and I think the year out gave me the confidence and speed that you can only get from working in agencies. It also allowed me to travel the world and try agencies in Melbourne, Sydney, Perth, London and Manchester. They all taught me different skills and helped me to work out where to take my design practice when I left. I think my current job combines all my favourite elements of art and design: from fashion and textiles, 3D, digital and photography, and allows me to produce authentic, considered, concept-driven work.

I very nearly didn’t end up at the LCC. I was nearing the end of a Foundation course at Central Saint Martins – and while everyone else was busy applying to BAs in Graphic Design, I’d gotten myself a place at Durham University to study German and Spanish. I owe a lot of thanks to a tutor from CSM, who sent me a photocopy through the post of Grafik’s article on LCC’s Information Design course. It opened my eyes to how design could be a bridge between Science and the Arts, and showed me an area of design that I felt fitted with what I wanted to do. Within a number of days, I found myself with an oversized portfolio in hand at Elephant and Castle having a portfolio review, and within 24 hours, I

had a place on the course. I’m glad things panned out as they did. Martin Ashley, one of the tutors from Information Design, once said that being a designer is one of the most interesting things you can do. You spend your whole career learning about something new. My time at LCC has put me in good stead for an interesting, varied and challenging career. One of the most important things it gave me was connections; not just the people I met there at the time, but also the people I’ve met and been introduced to since, who have all passed through its doors. One of the key commonalities I’ve found among LCC graduates is their appreciation for the journey that design takes you on: the process, the development and the depth of thought, which is something that’s rare to find in the current state of the industry. The year in industry, and particularly Sarah Temple’s guidance, taught me to be proactive and seek out my own opportunities. It was with this mind-set that I was lucky enough to get an opportunity to intern with Justus Oehler in Pentagram’s Berlin office on graduating, which turned into a job in Angus Hyland’s team back in Pentagram’s London office (coincidentally, his whole team at that time had graduated from LCC’s Information Design course at one point or another). There I gained experience working on both larger corporate projects, and small,

freer briefs, while seeing the power of what a small, close team could achieve. While in many ways Pentagram was a dream job, deep down I was interested in designing for the ever-developing landscape of digital. For me, this is one of the greatest opportunities for designers today – with so much still in flux around how we use technology, and many paradigms yet to be established, there is a lot of work to be done. In the spirit of DPS, I got together a portfolio, and through more than a few late nights, learnt to code and picked up a number of freelance projects to gain experience, ultimately getting myself a job as a “user-experience architect”. From that, I learnt about designing and developing large-scale digital experiences, and about the specific challenges of designing in this landscape. My next job came from a chance Twitter encounter with The Times’ then-creative director, Jon Hill, who was coincidentally also taught by Sarah Temple. Before I knew it, I found myself with the wonderful job of head of digital design at The Times, working on their website’s re-design. Not all that long after starting however, Jon was poached by The Telegraph to head-up a re-design, and it wasn’t long before I followed as deputy creative director. The challenge and the draw of the job at The Telegraph has been to re-design every part of it – from the newspaper and magazines, to its website and apps. It’s a rare

opportunity to re-design all touchpoints of a national newspaper quite so quickly. For some parts of it, such as the newspaper, I like to think it has been less of a ‘re-design’ and more of a “renovation”, to restore some of the original heritage. For other parts, such as the digital areas, we’ve taken the design a lot further, to reimagine how a heritage-newspaper brand exists and can compete in an online world alongside much younger brands, such as Vox and Medium. The initial re-design is just one part of the bigger task. With an ever-evolving news agenda and big events such as the Olympics and the US elections around the corner, there is a lot of scope for telling powerful, visual stories, not just for the newspaper, but across video, interactive experiences and virtual reality, to name but a few. To be truly innovative, not only must we think about how we tell meaningful stories across today’s platforms but what will come tomorrow, next week or in five years. Bill Moggeridge, co-founder of IDEO, once said that “successful innovation requires the meeting of the right people at the right place with just the right problem”. The London College of Communication, with its vast network of people and the skills they teach, sets up its graduates in the best possible way to find those opportunities and lead the way for the rest of the industry.

2012 – 13

SHINJI PONS Technologist and typographer, Shinji freelanced with Barnbrook on graduation before accepting a job at Microsoft.

Originally my hopes were to study automotive transport design. But digital design, typo-graphics and LCC found me. I think one of the most important things I learned while at LCC is that it’s always extremely important to be self-disciplined and idealistic while being able to adapt to unforeseen circumstances. During my internship year I worked for Philippe Apeloig and it was completely exhilarating. After three months in Paris, I moved to Amsterdam for an internship at Total Identity, formerly known as Total Design. I realised how much more confident I was as a designer coming back to university. I secured my first job working for Microsoft soon after graduation.

Alumni: Callum Copley / Lucy Brown

Since graduating from the London College of Communication (LCC) in 2014 with a BA in Graphic and Media Design I have been working as a freelance designer and illustrator. My time at LCC allowed me to develop a much deeper interest in visual culture as a whole, and its broader context within society. In my final year, all of my projects were heavily research-based and focused on the political and critical arenas of design. This mode of working, where research and experimentation happen in parallel and is often the same thing, is something that is integral to my practice. During my

time studying at LCC, I took part in a six-month internship for Droog Lab in Amsterdam as part of my one-year DPS. I worked on a number of speculative design projects in collaboration with studios such as Metahaven and artists like Erik Kessels. Since graduating from my BA, I co-founded the Registration Summer School, a forum for sharing ideas and skills between students and teachers outside the standard university paradigm. The theme of my work has been varied in the past but always specific in each individual exploration. I am interested in extrapolating current trends to see what lies ahead in both the immediate, tangible future and what unsubstantiated future visions hold. My practice consists of a number of both self-initiated and collaborative projects. A recent undertaking has both these attributes – Continental Breakfast is a group exhibition curated by me that explores what it means to be a citizen of the EU and have free movement within its member states. The project involves 22 artists from 11 EU countries and highlights the number of growing contradictions within Europe. Ultimately, the freedom given to me during my time studying at LCC, as well as the influences of designers met during my DPS year, have undoubtedly shaped me into the designer I am today.

‘The Short Range Future Forecasting Study’, June 2014

‘Special Offer’, Fluorescent A2 Poster, January 2014

“The Value of Physical Exploration”, 2012

2012 – 13

CALLUM COPLEY Speculative designer Callum Copley set up Registration Summer School. His interests include future technologies and their cultural, political and ethical implications.

Alumnus: Kuchar Swara

2007 – 08

2001 – 02

LUCY BROWN

KUCHAR SWARA

Designer and educator Lucy Brown was awarded a distinction for her MA after her BA at The London College of Communication.

Kuchar Swara is the co-founder, co-publisher and creative director of award-winning men’s magazine Port which he launched in 2011.

LCC saw potential in me and I will be forever grateful for that. It opened doors for me not only in relation to industry, but also in relation to the development of oneself. I learnt what mattered to me, I built a network of like-minded people and I began to understand the value of human connections. My DPS year led me to The Guardian in London, M&C Saatchi in Sydney and to Oded Ezer in Tel Aviv. After my MA I developed my own teaching practice, I greatly value contributing to the quality of other people’s journey through teaching. A degree is an invitation to participate and an opportunity for growth.

I graduated from the LCP, now the LCC, in 2004, having taken an extra year in industry, bringing my degree to four years rather than three. This year out was a good decision – a stint at Condé Nast Traveller and a longer

period at Wallpaper* whetted my appetite for publishing. It revealed an endless space for other interests such as photography, filmmaking, writing, publishing, branding and product design. I returned to the LCC for my final year with a level of professionalism and focus that was missing in the first two years of my degree. For my final project in year four I took the brief: “Islands” and produced a book of maps, charting British overseas territories. I set myself the task of numbering and cataloguing every island and islet, using Admiralty charts and maps from the British Library as well as those from Ordnance Survey. Looking back on the ambition of the project, I’m not entirely sure why I set myself such a challenge but it was immensely satisfying when I finished it. The “Islands” project landed me the honour of a job with my mentor and first employer, Simon Esterson,

Port Issue Six. Cover Photography by Philip Sinden

who taught me almost everything I know about editorial design. After three and a half years with Simon, I spent a year and a half with Tyler Brûlé before leaving to start my own studio. I was lucky to have my first client, Case da Abitare, as well as The Spectator and a few other smaller projects, which kept me busy enough, but then I decided to complicate things further and start a men’s magazine. I launched Port in 2011 with Matt Willey and Dan Crowe, and this year we are celebrating half a decade of publishing the title. More recently, in October 2015, I launched a new watch brand, Sekford. In many ways, the process of starting a watch company was not very different from the “Islands” project really, as it’s ambitious and challenging. Sometimes I wish I could make my life a little simpler, but then where would be the excitement in that?

Port Issue Fifteen. Cover Photography by Pieter Hugo

Alumni: Rebecca Lyddon / Danny McNeil

Cover graphic and identity for Greater Manchester Arts, a major funding body for Arts in Manchester”, 2016

Sculptural photoshoot for UNIQLO menswear collection catalogue. Completed at ODD, 2008

Alumni: Danny McNeil / Paul Jenkins

The Happy Catch, 2015

The Sorrell Foundation, 2015

‘Being Ben’ offers an insight into how an ‘auditory processing difficulty’ might feel

2007 – 08

REBECCA LYDDON Social designer Rebecca Lyddon has recently been nominated for an ‘Entrepreneur of Excellence Award’ as part of the 2016 National Diversity Awards.

I studied Graphic & Media design at LCC on the typo/graphic pathway. Throughout my degree I was interested in our perceptions of space and how we interpret our surroundings. The DPS year started for me in Goa at a design conference: while there I secured a three-month internship at Grandmother India, which is an advertising & design company in Mumbai. When I returned to the UK I was offered a trip to South Africa with LCC to study alongside some design students at Cape University. Both of these were amazing learning experiences which meant I got to meet creatives from all over the world and see

how their environment inspired their design practice. The DPS year helped me to realise my interests and plans for where I wanted my creative future to go. I secured a zero hour contract job working in a centre in west London that supports children and young people with complex health needs and disabilities. Quickly this became full time and I was able to explore my creativity with a personalised outcome to support the children I worked with. I soon became captivated by the autistic sensory world and wanted to explore it more. Throughout the seven years I worked there, I set up a sensory toy library, qualified as a regional Makaton tutor and trained the staff to support the sensory needs of the children. Alongside my work, I completed a Masters degree in Art and Science at Central Saint Martins, receiving a distinction for my installations focusing on the autistic sensory world. I design and build environments to help society experience for themselves how SPD can impact their daily lives. Nominated for a National Diversity Award, Sensory Spectacle creates immersive experiences to educate about Sensory Processing through experience. Sensory Spectacle’s installations encourage reflection and a method to better formulate ways to support people living with autism .

2002 – 03

DANNY MCNEIL After six years as a Design Director at Sea, Danny McNeil founded his own studio: TM in September 2015.

I didn’t go directly into a degree in graphic design. I studied Computer Science and worked at Microsoft before giving serious thought to pursuing a career in design. I applied and was accepted to LCC for the undergraduate Typo/graphic design pathway and never looked back. In stark contrast to my time at Reading I was surrounded by exciting and tangible things; ink, lead, paper, people. The freedom offered by the degree challenged and invigorated my creativity. Somewhere in my second year I became painfully aware of the impending perils of full-time employment without any real experience.

So I applied for the DPS year, knowing that it would provide me with a way of extending my time in education (even more!), but also, it offered the opportunity to explore the working world; where would I like to be and what kind of work I’d like to be involved with in the ever-expanding graphic-design industry. The year in industry gave me real insight into my future career as a graphic designer. It truly was an invaluable experience for me and set up a much clearer path for a strong final year at college. It also helped me establish industry connections that have been useful to this day. I worked at SEA for 6 years rising through the ranks and eventually being promoted to the position of design director. It was a unique opportunity to work with both commercial and cultural clients from every industry imaginable: The Barbican, Ahrend, GF Smith, New Designers, London Art Fair, Monotype and Fedrigoni. I founded my current studio TM in September 2015, with partner Johnny Tsevdos. Our aim is to create brands that resonate. In the relatively short space of time that we’ve been running we’ve rebranded and repositioned the national body for dance in the UK, One Dance UK, and we are currently working with Manchester Council on a major arts initiative.

2008 — 09

PAUL JENKINS Paul Jenkins founded Triple Double in 2015 to address design problems. His practice celebrates creative collaboration.

Design is a solution to a problem – it helps people better understand products and services – improving their lives. I founded my practice,Triple Double to do just that. I try and create a collaborative approach for each client to get to their best solutions – whether brands, organisations or individuals – and I regularly team up with specialists to enhance projects. Collaboration is inspiring ! Simply put, the DPS year out in Industry at LCC helped to kickstart my career, providing the experienc-

es, skills and confidence to leave university, get out there and really start ‘playing’ with the industry. It enabled me to focus on what I did and didn’t want to do and developed the entrepreneurial side of all the students who undertook it. My Nike78 project (nike78.co.uk) started during the DPS year out as an example of this. During my year out, I undertook internships in London as well at Pentagram in Berlin and Wieden+Kennedy in Tokyo – I learnt Japanese - this international experience was invaluable. Whilst I’m now creating design to help my own clients, the DPS year out provided me with these same opportunities for the first time with some amazing people I met across the globe. I launched by own practice in 2015 and it has been one hell of a year in all honestly. I’ve learnt so much not only about what I want to do, but also about myself as a designer. I have met some amazing people along the way and been involved in some fantastic internships, freelance work, exhibitions, projects and everything else in-between. So for students considering their education, go and take a year out during your education - to anyone in Industry reading this, hire students who have experience and undertaken self initiated projects – simple as that.

Alumna: Netta Peltola

‘Design Disasters’ explores unfortunate scenarios, as a subsequent evocation for happiness. Collaboration with Sine Ringgaard, 2015

2011 – 12

NETTA PELTOLA Independent designer/maker Netta Peltola currently works as an installation artist at Jotta, whose competencies include architecture, art direction, gaming and content production.

I studied Graphic and Media Design for Typo/Graphics at the London College of Communication. In retrospect, I see it as a time where students are able to develop a logic, a lens in order to see the world and to shape new perspectives of how an image, object or a situation can be read. The facilities were like arriving at a kind

of sweet shop, which enabled me to broaden my understanding and creative potential. Here I developed a highly diverse skill set, from crafts to digital media. This creative variety opens doors in which to realise new ideas and possibilities. Each media and production process possesses its own set of rules, which when identified help to break old habits and personal prejudices. I give significant importance to the notion of “physical” processes as part of my creative practice, as it often helps me to investigate and unearth surprising solutions and applications. For example, learning about letterpress printing shifted my perspective on typography into a tangible medium, which I could understand and navigate with. Learning about interactive arts brought me closer to technology, to think about storytelling techniques and use performance as a tool for prototyping experiences. I have always been captivated by prototyping mechanisms at universi-

ty, including creations such as ‘The Reverse Washing Machine’, ‘Design Disasters’ and the kinetic ‘Binary Computer’. I identified the importance of small informal groups, which formed a ‘place’ to share knowledge, skills, a creative platform to discuss and cognitively critique each other’s work. The Course inspired, challenged and reconfigured my thinking, helping me to identify and steer my interests and motivations. Through this process, I started exploring ways to preserve this kind of valuable exchange outside an art institution. Together with a few peers, I formed a live-work studio to further motivate and sustain the cross-collaboration in art and design practice. Together we invested time and resources to build workshop facilities, host events, performance nights and even formed an After School Club. When committing to a Bachelor degree, we all want to discover our own beginnings and in the end have some kind of a closure (and ideally a job). I chose to under-

Alumna: Netta Peltola

Above Beyond. Eight large scale kinetic panels programmed to move in perfect synchronisation for American Airlines. Project by Jotta Studio, 2015

take a DPS year with the intent to gain time to reflect on personal development and to understand where my potential could be positioned within the industry. My year began at YCN Studio as a graphic design intern.This was a great opportunity to observe how a small studio is run. The environment was filled with symbols of play, including the walls that looked like Tetris blocks on wheels, and the teeth-shaped meeting tables. This was followed by a placement at Studio XAG, run by a dynamic young couple. I spent my time there fabricating and prototyping to-scale models in a workshop. I was very curious to grasp how young creatives can also become entrepreneurs, to find a way to make a living in the highly competitive environment of London. I was present at meetings, some very exciting and some unnerving, all of which amounted to a learning experience of how to present work for people who have little time and attention. Fortunately, some of these

resulted in my first commissions including Words Words Words, a display design for Selfridges concept store, made in collaboration with Jack Gardiner. With a tight budget and short turnaround, the project was a relentless problem-solving experience. Also, it was my first introduction to project management and budgeting, and proved how important it is to nurture a positive team spirit. My second commission was a large network of illustrations for Siemens Urban Sustainability Centre entitled ‘The Crystal’. Multiple site-visits with designers, engineers and architects informed me about exhibition navigation-design. For the past three years, I have also been involved in the team that developed a wooden city at the Green Man Festival in Wales. The proposal for the Egg Installation grew into a two-storey construction. It provided the festival with a sociable space, bringing more footfall and business into the area as a result. Looking back, having a year on the DPS helped me

to take a first step in recognising and appropriating useful skills which students are usually not yet exposed to. With a chance to really challenge my ideology and skill set, I was also able to take risks while having some financial security. It formed the foundations of a practice which has carried me through after graduation. A year later I was fortunate to join the small-but-dynamic multi-disciplinary team of Jotta Studio. At Jotta, we bring installation design on an architectural scale together with emerging technologies and content creation to realise new possibilities within the live environment. Founded in partnership with Central Saint Martins in 2009, Jotta operates at the edge of emerging creative culture, mobilising the best new talent and exploring new technologies and production processes within a multi-disciplinary studio environment that spans competencies including architecture, art direction, gaming and content production.

Alumnus: Angus Hyland

1984 – 85

ANGUS HYLAND Angus Hyland is a partner at Pentagram, the world’s largest independent design consultancy.

Like most of us working in the creative industries, my life and work to a greater extent has been shaped by the circles I’ve moved in – my network. Many of my friends are directly related to my time and connection to the RCA (Royal College of Art) and my working life is completely entwined with the people I’ve met during my 18 years as a partner at

Pentagram. The LCP is another network, which has dominated my career - and principally provided the type of assistant I’ve employed here over that same period. It’s been exactly 30 years since I graduated from the LCP with a degree in Media and Production Design (MPD); the four-year graphic design course. MPD was different to the standard graphic design degree, because it included a year in industry as an intern placement and because the course had a much stronger emphasis on typographic, information and editorial design than its threeyear equivalent. I’d visited the college on a sunny day during the springtime before applying, and somehow I’d misconstrued the environment of Elephant and Castle. I arrived to register on a wet grey late September morning where the brutalist concrete, damp and depressing company of the regular down-and-outs that frequented the Elephant’s underpass set the tone - or rather monotone - for the next four years’ hard labour. This stood in stark contrast to my post-

Penguin and Puffin Identity, Pentagram, 2003

graduate experience in leafy Kensington at the Royal College of Art; September 1986 was like walking out of a post-war kitchen sink drama into glorious full technicolour. Yet despite appearances I cannot fault the LCP in terms of what I learnt and in forming the bedrock of my design education. In fact, I would say, in spite of its surroundings, there was a spirit of ambition and experimentation, which, combined with a grounded discipline of the basics in design built the foundation of my career. In the 1980s the LCP had a strong working (you could say working-class) culture, which together with a strong emphasis on the technical and the functional was the antipathy of your standard art college - for better or worse it was not ‘arty’. Pretension was pretty much frowned on in favour of good solid understanding of the craft of typography (foremost) and design. That’s basically the reason why I’ve so consistently employed graduates from my old college - I don’t have to teach them their craft. In that respect they are ‘old school’: my old school.

‘Symbol’, published by Lawrence King, 2011

Alumni: Daniel Chehade / Jessica Bishopp

2006 – 07

DANIEL CHEHADE Daniel Chehade, founder of Studio Chehade undertakes consulting work for Fletcher Studio and Alan Kitching as well as design projects for galleries, architects and cultural organisations.

My education: Important words to describe my time at LCC would be learned (staff ), creative (students) and collaborative (both). My fondest memory of my time at LCC was the collaborative spirit among my fellow students and the ‘can do’ attitude of most staff, technicians and academ-

ics alike. I am still in touch with many colleagues and have worked with some professionally too. My year in Industry: My time undertaking DPS was the single most important period of my education. Leaving the LCC at that time, finding work and meeting the people I admired has paved the way for my career to date. Sarah Temple is a force to be reckoned with, without who I’m not sure where I would be now, or indeed where the DPS would be. My current practice: My studio’s design work includes books and catalogues for publishers and galleries, and visual identities for universities and small/medium-sized businesses. Alongside this I do consulting work for Fletcher studio and Alan Kitching in his letterpress studio where I am actively involved with Kitching’s archive and largescale commissions. Design education has always felt important to me. I am actively involved in writing and selecting briefs and have achieved success in the D&AD New Blood Awards as a tutor several times.

Zaha Hadid at the Hermitage, Catalogue, 2015

2012 – 13

JESSICA BISHOPP Jessica Bishopp, filmmaker, designer, producer and researcher with a passion for storytelling has created work for Channel 4 Random Acts and for the ICA.

I have a background in design, interaction and filmmaking: all these are linked by a genuine passion for storytelling. Experimenting with a wide range of media, my work studies basic human interactions and habits, exposing the magic in the mundane. In 2014 I won the Creative Conscience Award for my project ‘See What I See’ which is centred on creative education in The Gambia. I have recently been commissioned to make a short film for Channel4 Random Acts by Dazed and Confused and the Institute of Contemporary Arts. I am incredibly curious about other cultures and different perspectives, locally and globally, and I am passionate about creating positive social change, particularly on a local scale, activating local communities; whether they are in Bermondsey or Banjul. My year in industry and my education at the LCC allowed me to experiment and explore: it taught me to be independent and to always question the world.

‘See What I See’, Gambia, 2013

This Spread: Alan Kitching: A Life in Letterpress as part of Pick Me Up 2016 at Somerset House ÂŠ Kevin Meredith. Design and curation by Daniel Chehade

Alumna: Chrissie Abbott

2003 — 04

CHRISSIE ABBOTT Chrissie Abbott creates mixed media collages and silk screen printmaking for Virgin, MTV, Vans, Wallpaper and The New York Times.

I studied Graphic & Media Design with the illustration pathway and Diploma in Professional Studies at LCC. I feel like this course was the perfect mixed bag because I was able to experiment with ideas across various mediums, and combine the practices of layout with illustration. I found this really inspiring. Plus I also learnt how to screen print! After leaving in 2005, I went to work at London-based creative studio Zip Design. I was lucky enough to be offered an internship at the studio during my diploma year, which led to a permanent role as junior designer. Zip specialises in campaigns for music, and this was a dream come true for me to gain experience working on major projects with industry-leading labels and artists. As it was a small studio of eight people, it was a tight-knit group and so I learnt a lot very quickly under their guidance and extreme patience. This is really where I gained the majority of my DTP and creative-suite skills and they helped me learn how to develop ideas and implement them into commercial projects. I was also able to use my illustrative skills in the

role, which gave me an insight into how to commission artists. I got to see it from the other way around and work almost as an in-house artist on certain projects that included a specialist brochure for the Barbican, which kept it really creatively fulfilling for me. At the same time as this I was taken on by the YCN to represent my illustration work, which was a massive door opener to a huge range of big-name clients that I would have had no idea how to approach. My first proper commission was through YCN for Orange Mobile and I was over the moon! They also organised a group exhibition at Urban Outfitters in Stockholm that I was part of, which was the first time I’d exhibited work outside of the UK. As my client base grew and more work started coming in, I decided to leave Zip after three years in order to concentrate more on my freelance illustration work. Initially I worked out of my bedroom, just so I could try and keep my overheads to a minimum, but it soon became impractical and I rented a little studio space in Dalston, run by Print Club. This was a fantastic way to meet other artists, designers and illustrators and meant that I was less of a hermit. Plus having a space that I wasn’t also sleeping in meant that I could branch into the messier aspects of painting, drawing and collage. The added advantage of having a print studio as part of the organisation was amazing because I could produce my own screen prints and be more experimental with my practice. They also had regular group exhibitions and open studios which acted as an additional platform to be able to show my work. More recently I have been travelling a lot and spend extended periods of time away, which means I often have to work remote-

“SOON AFTER GRADUATION, MY FIRST PROPER COMMISSION WAS FOR ORANGE MOBILE AND I WAS OVER THE MOON!”

Alumna: Chrissie Abbott

Arena Magazine cover, October 2014

Diagrams - ‘Chromatics’ album cover, July 2014 Puss Puss magazine collage, January 2015

Adidas x Farm animation, August 2014

ly. I feel like this has affected my work in that it’s been really inspiring to broaden my horizons, but also that I prefer to work digitally rather than make everything by hand these days. I also find that it’s more practical to create digital collages for commissioned projects, as, if there are inevitable changes or amendments, it’s easier to work on a layered psd than to start from scratch with paint and glue. I tend to save the more hands-on approach for personal work that will be exhibited. I also work on projects that are purely design and art-direction, and I feel that this keeps life varied and lets me see things from different perspectives. The most recent project I worked on was to design and layout a book, which was a new task that came with challenges but there’s something really nice about working on a book because it feels like it will be around for a long time, rather than a digital presence that is perhaps disposable. I think that the nostalgia I have for the books and records that I grew up with – that played different roles in influencing my life in various ways –means that I will always value print and tangible objects in a more “superior” way. Having something that you can hold in your hand, that’s been carefully considered regarding paper stock and finishes and processes feels so special. Right now I’m in Australia working as an art director for a hair and beauty brand that found me off the back of a music campaign I worked on. So this was an unexpected opportunity that I didn’t want to pass up! Day-to-day I work alongside copywriters and brand managers to conceptualise and produce photo shoots, video content, packaging and web design. Working for one brand for an extended period gives me the scope to concentrate on every visual aspect from start to finish.

Alumnus: James Medcraft

39 Top: Observer Series - The Meeting, Photograph, 2010 Bottom: Coldplay: A Sky Full of Stars, Music Video, 2014

Nike Flyknit Lunar, Personal Commission, 2014

2003 — 04

JAMES MEDCRAFT Photographer and filmmaker James Medcraft travelled the world, worked on groundbreaking projects, with some of the most exciting people in the Industry, within one year of graduation.

Before applying to the LCP, it was described by my tutors as the pathway to success. After my first two years however I began to doubt this: how could a decaying tower block in South London, akin to a Ballard novel, harbour such success within people? My first two years were about learning the fundamentals and while I enjoyed the conceptual approach of our course, I found it very difficult to see how I could apply this thought process to the commercial world when I graduated, and I failed miserably. The DPS year was offered to me as

an option in the second year, which seemed to give me some hope; take a dip into the commercial world but keep your conceptual mindset. Without that pivotal DPS year I would not be doing what I do today, and I owe my career to the people who persuaded me to take part. During this year many things fell into place. I found how the conceptual teachings of my course (GMD Typography) could be applied to projects not related to typography specifically. It gave me the confidence to try new industries and techniques, and gave me goals for when I returned to finish my course. While in my DPS year I met many people with whom I work today and those who gave me my first work. On returning to complete my course I had a new sense of confidence and enthusiasm. I combined typography with filmmaking, photography and animation as I discovered new possibilities of expression not restricted to print. After graduating I returned to work for United Visual Artists who had given me some work in my DPS year. Within one year of graduating I’d travelled the world, worked on some of the most groundbreaking projects and with some of the most exciting people in the industry. UVA

was also a practice that had a very conceptual approach to work, which fuelled some exciting experiences. While at UVA, their very open approach gave me the opportunity to try some of my own non-commercial projects in-house and take time off to try my own commercial projects too. I eventually left UVA to pursue a less design-based career and one led by film and photography. Even though I don’t consider myself an artist today, I do feel that what I learnt at LCC gave me the ability to approach my work with a sense of artistic continuity. I like to revisit themes and techniques within my commercial work that excite me and teach me about the world. Today my work has many outputs and applied techniques. On the one hand I shoot personal photography projects of sub-cultures and communities in the UK, and on the other I create high-end and technologically complex commercial film shoots. The two worlds couldn’t be more visually polarised, yet they feed each other creatively. It’s hard to imagine now where I would be today if I hadn’t studied at LCC, but more importantly if I didn’t take part in the DPS year, I’m sure I wouldn’t be having this much fun.

Alumnus: James Medcraft

Alumni: Charlie Hocking

Higher education is an incredible privilege. From an artistic point of view it is a wonderfully indulgent and selfish period of your life that should be cherished and embraced wholeheartedly. Having that sort of time and space to dedicate to your own work is a rare commodity and should never be taken for granted. Needless to say, it is a fairly traumatic experi-

ence when it all suddenly comes to an end and the realities of a degree in the creative industries finally kick in! The year I spent working in the industry, as part of my Diploma in Professional Studies, was perhaps the best possible preparation I could have had for the heavy bump back to earth after I graduated in 2010. Despite all the unknowns that lay ahead, I had managed to gain some useful professional contacts and perhaps best of all, a (reasonably) professional portfolio. The year out had even given me the chance to create a whole new body of work with my friend Alex Hunting (a DPS alumni and an incredibly talented editorial designer). Just before we returned for our fourth year, we set about collating all the emerging student stories from the year into a neatly designed newspaper so that they could be read and enjoyed by students and professionals alike. Not only did this give us a practical vent for our skills as emerging designers but it also gave us the opportunity to push ourselves into the design press and make a bit of extra cash by sell-

2008 – 09

CHARLIE HOCKING Charlie Hocking is senior designer at award-winning branding agency Designstudio.

Premier League rebrand magazine graphics DesignStudio, 2016

ing our creations online. All these little efforts and attentions to detail slowly started to add up. Because of the DPS I had a good sense of professional practice and a strong idea of where I wanted to go. Internships were getting easier to come by and it wasn’t long before I got my first foot on the ladder as a professional designer. In my view it is incredibly important that these two worlds of education and industry are brought closer and closer together. At DesignStudio, where I currently work, we always look to bridge this gap by holding talks for students at our London studio as well as visiting universities to teach and hold workshops on a regular basis. Higher-Education institutions owe it to their students to nurture these professional relationships and it’s fantastic to see LCC doing just that. One of the main attractions for me when applying to LCC (way back in 2005) was this close-knit connection with the professional world. It feels bizarre that now, over 10 years down the line, more universities don’t offer this wonderful opportunity.

Drivy billboard DesignStudio, 2016

Alumni: Charlie Hocking

Creative Enterprise Week, Identity. Produced at Teo Connor Studio, 2013

“ONE OF THE MAIN ATTRACTIONS FOR ME WHEN APPLYING TO LCC WAS THEIR CLOSE-KNIT CONNECTION WITH THE PROFESSIONAL WORLD.”

This Spread: Premier League rebrand pitch graphics, DesignStudio, 2016

Alumni: Hilary Chittenden / Caroline Claisse

E-waste mountain, 2012

2010 – 11

HILARY CHITTENDEN Hilary worked initially for the RSA, immersed in projects such as The Great Recovery, more recently as Foundation Manager at D&AD.

Looking back, my DPS year was ridiculously influential in shaping my (rather grandly titled) career. When I started at LCC I had my life planned out. I’d get my degree at a great university, followed by a handful of internships at some boutique design agencies before landing my dream job at a super cool studio that’s regularly splashed on It’s Nice That. But one of the great things about the DPS year was discovering that what you always thought you wanted to do probably wasn’t what you actually wanted. As I entered my DPS year I looked at the bigger picture, and made a decision to nudge the dream to one side

and spend the year trying as many goddamned things as I could get my hands on –from advertising, to branding, to publishing and events. I returned to my final year with determination and focus. I knew I wanted to work with people, so I pushed the projects I was doing towards co-created work. Celebrate My Library, which I ran for four years with LCC classmate Victoria Foster, was born from my final-year project campaigning against library closures. This self-initiated work helped secure me a role at the RSA, a research centre and think tank. I spent two years working on various projects, including The Great Recovery, and teaching designers how to create projects more sustainably. I’m now foundation manager at D&AD, and I get to meet hundreds of students every year. The D&AD Foundation exists to inspire the next generation of creative talent, promote diversity, and stimulate the creative industry to work towards a fairer, more sustainable future. If I look back six years to when I first began my year in industry, I would never have imagined that I would be using my creativity to work for an education charity. Without knowing it, that one year really did change my perspective on what design means and can achieve.

Alumni: Caroline Claisse / Izabella Bielawska

‘The Wheelbarrow Chair’, 2012. Hybrid object made of wood Anni Kuan fashion catalogue, Art direction by Stefan Sagmeister, 2004

2010 – 11

CAROLINE CLAISSE Four years after LCC, Caroline Claisse is teaching Information Experience at the RCA and embarking on a PHD using participatory approaches and tangible technology.

The three years I spent studying at the LCC really broadened my practice and gave me space to experiment with my work. Before LCC, I studied visual communication in France, which gave me a strong understanding of graphic design. LCC challenged my ideas about design and encouraged me to think outside the box, using new mediums and different ways for representing information. It was a big change for me; the briefs were much more open-ended which stretched my practice from 2D to 3D forms. By taking the Diploma in Professional Studies, I went away on an adv-

enture for one year where I had the chance to both study and work abroad in the US and Europe. During that time, I worked at the Museum of Modern Art in New York where I was working on projects ranging from advertising, merchandising, and product to exhibition design. After my BA, I got on the MA course: Information Experience Design at the Royal College of Art, a multidisciplinary course where students are challenged to transform information into experiences. During the MA, my design practice developed into research experiments and I had the opportunity to publish and present both practice-based work and my MA dissertation research at various conferences in Europe. After graduating from the Royal College of Art, I worked as a visiting lecturer at the RCA, where I led on writing briefs and workshop sessions for the Information Experience Design MA students. Both education and design practice are still very much intertwined in my work. Last year, I started a fully funded and practice-based PhD in Art and Design at Sheffield Hallam University where I also teach part-time. With the PhD, I use participatory design approaches to look at audience engagement and the role of tangible technology in museums.

2002 – 03

IZABELLA BIELAWSKA Stefan Sagmeister told Izabella to keep things small. She valued this advice when she established Mandala Studio in Bangkok in 2011.

During my year of Diploma in Professional Studies I gained great work experience in a wide variety of London studios: The Partners, The Chase, Johnson Banks and Push, to name just a few – but my real dream was to do an internship at Sagmeister Inc. I was scared my portfolio wasn’t strong enough but with big help from Sarah Temple I gained the courage to go to New York for an interview. Much to my relief he liked my work but his studio was booked out with internships for the next 16 months! At that time he only took four interns per year, for three months each. Fortunately for me, this was perfect timing

because the next available internship was only a month after my graduation from LCC. The projects I worked on during my internship there included an illustration for a New York Times article about US army casualties in Iraq. After my three-month internship with Stefan, I returned to London and took on various freelance positions. When I saw an ad for a designer position at The Guardian newspaper I applied straight away, and stayed there for almost three years, art-directing and designing G2, the daily features supplement. Working on G2 taught me that it’s possible to produce great design in a very limited amount of time, and that the first and simplest ideas can often be the strongest. I then joined Monocle as an associate art director in 2009, working closely with the creative director Richard Spencer Powell. The idea for Mandala Studio was born when my partner, Mat Ranson (a digital designer) and I took a year out to travel and work on freelance projects in Asia. In 2011 we moved to Bangkok permanently to set up Mandala Studio. We work in a wide variety of sectors, from technology to fashion, business to culture, producing corporate identities, books, publications and website design.

Alumnus: Corin Kennington

2013 – 14

CORIN KENNINGTON Corin Kennington who graduated in 2015 has already staged solo shows, been featured at Pick Me Up, in Creative Review Futures and at the New Designers: One Year On show.

Focusing on the physicality and handmade elements of traditional methods, my work is created using a range of techniques such as letterpress, screen-printing, risograph and hand painted letterforms. My most recent

body of work explores the journey of creating an image through the combination of old and new processes, and developing ways of unifying digital aesthetics and systems with traditional methods of print and execution. Always having had a keen interest in typography and print, I was originally drawn to LCC for the range of printing processes and facilities they had to offer, in particular the accessibility of the workshops and specialist areas. Often creating work that is heavily led by process, this made LCC a really exciting and thriving environment to work in throughout the duration of my four-year degree in Graphic and Media Design. Thrilled by the opportunities that a year in industry has to offer, and keen to explore various work arrangements and environments, I chose to undertake the DPS year. Some of my main experiences throughout the year included a large mural and

installation job for the then-new Ace Hotel in Shoreditch, London, which was shortly followed by a three-month paid internship at London-based branding agency and design duo lukecharles. I had the opportunity to assist Anthony Burrill with the set-up of his 2013 show I Like It, What Is It? at KK Outlet, Hoxton, which led on to a collaborative project with Burrill for London Sculpture Workshop, and a further install for his 2014 show Innocent Targets, at Protein Studio, London. In May 2014, Spike Taylor Manson and myself embarked on a three-month trip to India, where we spent eight weeks working for Wieden + Kennedy in Delhi. From working with large corporate design agencies to small-time freelancers and artists, I aimed to explore experiences within a range of fields that have always excited my personal and creative interests, and through experiential learning, my

Alumnus: Corin Kennington

aim was to gain an informed understanding of my own vision and ambitions for the future. Through the opportunities that DPS provided me with, coupled with those I have created for myself, I was able to work within a diverse range of situations in a selection of companies, countries and locations. The skills, which I chose to explore and develop at the time included branding, sign painting, printing and advertising. I was keen to explore each of these elements through professional practices and self-initiated projects, as well as freelance and commissioned work. The development of my freelance work and clients since graduation has very much been a natural progression of the influences and experiences gained from the year in industry, in particular my time spent in India. Inspired by the typography and vibrant colours found in the everyday environment of Indian streets and

truck art, one of my first jobs upon graduation was creating the identity and branding for Pilau, an Indian street food restaurant born in Soho. The exposure from this quickly led to a large project for the ZSL London Zoo, in which I was commissioned to design and execute a range of largescale hand painted signage and typographic pieces for their latest Indian-themed exhibit, Land of the Lions. Some of the key references for this project included the work of Indian typographer and designer Hanif Kureshi, who runs the project Hand Painted Type. Spike and myself worked closely with Hanif throughout our time in India, collaborating with local Delhi street-painters and artists to complete a large hand painted mural commission for Times Internet, Gurgaon. Currently, still in my first year since graduation, much of my work has also originated from the final year show at LCC, and the

exposure and press that came from it. Among other projects and proposals, a feature and interview in Creative Review led to my first solo show, Layers, Letters & Forms, which was held at Stories on Broadway Market. In turn, this was followed by the opportunity to exhibit my work at Somerset House as a Pick Me Up Select, and furthermore the chance to exhibit a series of new pieces at New Designers: One Year On in early July 2016. I feel that my journey as a professional designer began during DPS, and has naturally developed, formed and progressed throughout my final year at LCC and first year working within the industry. With a strong drive and definite sense of direction with my current work and career, I feel extremely grateful for the opportunities and experiences that the DPS year encouraged me to undertake, and the ongoing support and expertise of Sarah Temple.

“AS PART OF MY EDUCATION, I EMBARKED ON ‘A LIFE-CHANGING’ TRIP TO INDIA, WHERE I SPENT EIGHT WEEKS WORKING FOR WIEDEN+KENNEDY IN DELHI.”

Lune Typeface, B. Hand pulled with bespoke letterpress woodblock onto risograph, 2014

Delete, Hand painted forms onto plywood, LCC, 2015

Motion, 8 Colour screen print hand pulled onto Fabriano 300gsm, 2016

Alumni: Simon Connor + Stephen Cross / Kate Burn

Sterling, August 2015, Artwork by Tim Bird

2003 – 04

SIMON CONNOR + STEPHEN CROSS Advertising creative directors Connor & Cross co-founded The Two Fingers Brewing Co. that donates all its profits to Prostrate Cancer UK while at Karmarama.

“You won’t learn how to sell a Mars bar.” I still remember vividly being told that on our very first day of university at London College of Communication. And that was fine by us. It was the best thing we learnt during our time at LCC: that non-traditional, conceptual thinking leads to better ideas, and we have carried that with us every day onto every brief for the past 13 years. Since we graduated we have been lucky enough to do that for clients like the BBC, BMW, Ray

Aurelio Press Ad, 2014

Ban, Betfair and Honda. A highlight of our time in advertising has been when we hijacked the Bank of England’s vote, to make Raheem Sterling the new face of the £20 note. At the same time ‘money-grabbing’ 20-year-old Raheem Sterling made his record-breaking move to Manchester City, the Bank of England were searching for the next character to feature on the new £20 note. We thought it would be funny to hijack the vote. We also launched an award-winning beer company that gave away all its profits to charity. Men are terrible when it comes to personal health and apathetic when it comes to charity. So in 2014 we founded an award-winning beer company that gives all its profits to Prostate Cancer UK. It raises awareness for a disease that is as deadly for men as breast cancer is for women, (one in eight men die from prostate cancer) It makes it easy to support the cause by adjusting your buying habits to an independent craft beer that does ‘good’ over one of the big boys. Aurelio, our flagship brew, is a Golden Artisan Beer. People expect it to be substandard because it’s a charity beer. However, it won an International Beer Award for Craft Beer Innovation and has a bar full of famous fans including Jay Rayner, Jamie Oliver, Greg Wallace and our very own Prime Minister David Cameron. It’s stocked in Tesco and Ocado and a whole load of bars. We are about to launch it on draught and in 500ml form. Not bad for a hobby. Next up, dry-roasted nuts for testicular cancer.

IDEO, Idea generation, 2016

2009 – 10

KATE BURN Kate Burn is a senior design researcher at Ideo, London. She began her career by working with Hilary Cottam at Participle.

My years at the London College of Communication gave me the chance to think, play and experiment with design in the broadest sense, taking me out of my comfort zone. My DPS experience was arguably the most crucial part of my learning, the people I met and worked with during that year formed the foundations of the design-thinking approach I continue to build on today. My industry experience introduced me to a way of using design to engage with social challenges – how to improve the status quo by investigating what people want, discovering what they need and building a system that can deliver it. I learned about ethnography and how to ground design opportunities in a deep understanding of people. I realised I felt most comfortable using my skills to research as much as design – to make sure we were designing the

Alumni: Chiara Astuti + Martina Giulianelli + Anna Cennamo

Astuti, Cennamo & Giulianelli established ‘Food for Good’ during the DPS year at LCC

right thing, not just designing the thing right. I worked closely with designers I really respect and will forever be grateful for their continued mentorship. I’ve now spent the past five years collaborating with design teams, tackling complex challenges and contributing insights and strategic thinking to projects in the private and public sector. I first began working with Participle – a social innovation ‘think-and-do’ tank, if you will – during DPS and continued working with them throughout my final year of study and after graduation. With them, I helped reimagine UK welfare from a transactional to relational model – collaborating with service providers, individuals and communities to design, develop and prototype a suite of innovative services that aimed to change people’s lives and influence public policy in the UK by addressing ageing and loneliness, health and wellness, and employability. Today, in my role as a design researcher at IDEO, I blend methods grounded in design thinking and apply them throughout the design process to inform and inspire design opportunities with people at the centre. I build and lead inspiring research programmes with project teams, marrying ethnography and an understanding of global trends with a combination of other qualitative and quantitative approaches. I specialise in telling compelling stories about what makes people tick, spotting patterns and leading teams beyond synthesis through well-crafted insights. I use design thinking with, and not just for, people.

2011 – 12

CHIARA ASTUTI + MARTINA GIULIANELLI + ANNA CENNAMO Chiara Astuti, Anna Cennamo and Martina Giulianelli established the social enterprise ‘Food for Good’ during the Diploma in professional Studies year at the LCC.

The experiences we had whilst on the Diploma in Professional Studies, have had a big influence on our present careers. We wanted to use

our skills as communicators to make a positive impact on our society and environment. Personal experience played a big role in shaping us personally and professionally. Whilst studying at London College of Communication I worked in a patisserie shop in Central London and I witnessed how much delicious food was thrown away on a daily basis. Food for Good was born in 2011, when we received a funding of £2000 for our social entrepreneurial project: we wanted to collect surplus food from restaurants and deli’s in London and deliver it to organisations in need of it. Since then the project has won more funding and gone through many iterations in order to find different solutions for food waste. We didn’t only want people to know about the food waste issue, to share our passion for food; we also wanted to really reduce it’s impact on our environment. At the moment Food For Good is an ethical catering company, offering delicious and creative surplus food recipes, informing and educating. We want to be as sustainable as possible and we always try to change values with waste: food and other materials. Food For Good collaborates with chefs and we ourselves work as directors/designers/inventors. We intend to continue with our enterprise, it’s so wonderful to see that what we’ve worked so hard on, with great passion, for such a long time, is appreciated and supported. Starting Food For Good was one of the best things we have ever done personally and professionally; it has taught us a range of skills that I am sure we wouldn’t had otherwise learnt.

Part Two

Host Employers

Hosts

Astrid Stavro, Eddie Opara, Chris Morley, Jonathan Ellery, Fernando GutiĂŠrrez, Nick Bell, Simon Clowes, Erik Spiekermann, Philippe Apeloig.

Host & Alumna: Astrid Stavro

ASTRID

STAVRO

Astrid Stavro is co-founder of Design by Atlas in Mallorca, one of Spain’s most awarded studios.

I like to think of myself as an artisan who specialises in graphic design. The day that I feel like I’ve mastered my craft is the day I should retire. I am still the same hungry, gluttonous student I was 20 years ago when studying at the London College of Communication. I have spent half my life immersed in my work and will certainly dedicate the rest trying to master my skills, striving to elevate my craft without ever being satisfied. Satisfaction is the enemy of creativity. This is one of the things that young designers taking internships in my studio witness. “Good enough” is simply not enough. Interns are artisan apprentices, discovering the rigours of work, the importance of self-discipline, practice and respect, the joys and difficulties of working with a team of people. When students decide on their profession, they must immerse themselves in their work. Design is a way of living, a way of thinking that affects your every interaction in the world. We first discov-

er this as young students. Reading. Listening. Travelling to different cities and countries, discovering new cultures and engaging with the world. We eventually learn that what we receive is what we decide to receive. The lens through which we look at the world is who we are. These need to be carefully filtered through experience, by absorbing everything we possibly can. Some people like to be nourished. Others nourish themselves. The latter are the artisans, the ones that through commitment and intellectual involvement will eventually master their profession. Is a lifetime, spent in details that no one will ever notice, a wasted life? If it were, culture, as we know it would simply not exist. A designer friend (Jessica Helfand) once told me a story that has stayed with me. “What is the difference between a good designer and a great designer?” she was asked. “A great designer listens,” she replied. That’s the secret of success, or so I believe.

Elephant Magazine spread, Issue 21, 2015

Elephant Magazine cover, Issue 25, 2015

Barcelona Design Museum Posters, 2014—2015

Host & Alumna: Astrid Stavro

Host & Alumnus: Eddie Opara

SCAD, Multitouch Table Design

EDDIE

OPARA

Eddie Opara studied design at LCC and Yale, he joined Pentagram’s New York office as a Partner in 2010. Eddie’s work encompasses strategy, design, installation and technology.

I never did a foundation course. I came directly into the (MPD) Media Production and Design BA (Hons) at the LCP&DT (London College of Printing and Distributive Trades, as it was called back then). I was petrified. I had no understanding of anything. But my main tutors, Peter Pearce and Bob Britton, saw something in me. Perhaps it was a sense of desire, aestheticism, esotericism, faith. Peculiarly, I really never asked. But I had faith in what they taught me, as well as other tutors, such as Bernie Blair and Nick Bell. LCP taught me to discover methods of seeing through typography and image, from the traditional to the unorthodox. I needed a way to give my work more meaning. Why am I doing this? Who is my audience, if I have one? Why should I care about communicating visually? (I know that sounds daft but there was a need to question many things.) This was a period in graphic design’s historical timeline when a designer became author/auteur. The art of the process was just as important, or even more so, than that of the final product. This allowed me to formulate a method

Host & Alumnus: Chris Morley

Platform, 2013, designed and developed at Pentagram, New York

of working that I was comfortable with. I didn’t have the diversity or multimedia skill-set that is thumped into you within your foundation year. It would take me forever to conceive an idea from a brief, and by the time the project was to be shown and reviewed, I would have done numerous sketches, and written a fair amount about how I would execute the project but show only a final piece. I was actually stunned that my tutors, even though concerned about this manner of working, left me alone, and some even encouraged me to continue my journey of just sketching out the idea that I was conceiving as the final deliverable. I recall having a term class with Nick Bell. On the first day of the class he showed his sketching process in a large format black book. He had meticulously drawn in pencil, beautiful compositions of conceptual ideas. Nick valued both the conceptualising process and the edited resolution of the final piece. But, in reflection, I was carried away by just the sheer beauty of his process sketches, even though Nick would show us the final pieces. This was the genesis of a belief that process is king and a “final”, rendered project even though beautiful never outdoes the investigative visual narrative that “got you there”. The art of experimentation is the mother of invention, thus allowing you to find new ways to see and communicate. You could say that the college allowed me to develop my own bespoke way of crafting strategy and storytelling, and even though I don’t like the term “storytelling”, it’s an incredibly important skill-set that is needed by every graphic designer. When you get a chance to reflect, it seems that a young, naive student may often think that a tutor never really understood what they were trying to achieve, that the tutors were too critical and had their own agenda. Grab what they say and do it wholeheartedly. Take it, mould it into what YOU perceive, what YOU comprehend and reject. You will discover over the course of time that your own personal way of visually communicating will blossom.

UAL Sustainability Society Identity

CHRIS

MORLEY

Chris Morley developed a keen interest in design and sustainability at LCC and in 2014 set up a studio to focus on projects with an environmental and ethical emphasis.

I studied at the London College of Communication from 2010 – 2013. During this time, I developed as a designer and a person. It was a transformative experience for me - from a wayward 19-year-old with an interest in oil painting, illustration and graffiti to an information designer and environmentalist. At LCC there was always an emphasis on self-development and realisation. We were encouraged to move in our own direction, following our interests and passions, merging work and life. Away from the constraints of regimen and rules (and at times instruction!) we got it wrong, struggled with software, missed deadlines and printed booklets backwards. It was amidst this chaos that I learnt lessons I continue to hold close. I take on jobs that I don’t know how to do, put myself in situations outside of my comfort zone, follow my own convictions and collaborate with people from all vocations. LCC continues to be a primary source of contacts, inspiration and development. The creative network I formed during my time there continues to astonish. They work

across the world at fashion houses, publishers and studios, running businesses, starting ‘alternative’ universities and setting up social enterprises. The industry transforms, software changes, but creativity remains resolute. I have just finished working with a group of students from the Diploma in Professional Studies course in a mentoring role on a project to communicate the importance of auditing for the Royal College of GPs. The work produced from the five students was fantastically original, using skills and software far beyond what I had imagined. I look forward to seeing the project go live and continuing to work with the students involved in the future. I hope that the LCC continues to encourage designers to face outwards, absorbing and observing what’s happening around them. An inward facing education that idolises ‘celebrity’ designers has no place in a time of environmental disaster, conflict and social injustice. Design thinking can transform the way we live, consume and think about the world around us. A product and its life cycle must be designed as one. Clients now look for designers that consider the impact of their work. This space is seeing investment, opportunity and a rate of innovation, which will continue to balloon in the coming years. I look forward to working with the next generation of ‘Conscientious Communicators’ to emerge from the LCC who will continue to inspire, surprise and astound.

Host: Jonathan Ellery

57 ‘Religious Symbols/London Garden Birds/Numbers/Sexual Predators/ Political Symbols’, published by Browns Editions, 2014

JONATHAN

ELLERY

Jonathan Ellery sets a unique example, as founder of multidisciplinary design studio Browns, he is also an independent publisher and artist who has had shows in both London and NYC.

My first introduction to LCP, as it was back then, was I think back in 1983 or 1984. I grew up in Penzance in Cornwall and was a blond, longhaired surfer who had just finished a Foundation in art at Falmouth School of Art. I was beautiful back then. I had an interview at LCP, I came up on the train to Paddington, got the Tube to Elephant and Castle, got scared of the urban tower-block greyness of it all, boycotted my interview and sped back to Cornwall like a blond, long-haired, startled deer. Pathetic really. I ended up studying fashion and textiles at Manchester Polytechnic, got scared again, left after a year and went surfing in Australia. Anyway, somewhere along the line I toughened up a bit, or more accurately matured somewhat, and have had a love affair with London for many years now. Likewise my relationship with LCC has become a little more positive. Developing a relationship with a college can be tricky even if you’d like one. The time pressures of running a design practice, publishing and engaging with the art world makes it sometimes seem impossible, even if one is very much pro-education, as I am. I’ve only had a real relationship with two colleges over the years, firstly Glasgow School of Art, where I was an external examiner and enjoyed it very much, and more recently with LCC and in particular with DPS course director Sarah Temple

who I’m very fond of. Selfishly it also helps that my studio is just down the road from the college, a 10-minute walk away. My contribution to the college comes in the form of being a visiting lecturer or perhaps setting a brief for various workshops over the years. I try and attend as many of the final year shows as possible and the odd exhibition that they may be showing. Intuitively I’ve always liked the place. I think it’s got a good energy about it, not only the course but also the various lecturers I’ve come across, and most importantly the students themselves. There are often unavoidable politics in such places, but at LCC I haven’t seen it hold things back in any way. In my opinion the creative work of the students continues to be right up there, competing with the best colleges around the world. To consistently achieve that year after year is not easy. Not easy at all. And they are to be commended and celebrated for that. Over the years we’ve had many designers from LCC through our studio door, and we currently have two brilliant full-time designers from LCC, one from Italy and one from India. Having a relationship with the college over the years has, I guess, worked both ways. Yes, I’ve contributed to it as a culture, but LCC has also contributed to my studio as a culture. And for me, that’s a very cool thing.

Host: Jonathan Ellery

Host & Alumnus: Fernando Gutiérrez

FERNANDO

GUTIERREZ

Fernando Gutiérrez champions simplicity, the beauty of typography and the classical elegance of white space. He is currently External Examiner on the DPS Course at LCC.

Colors Magazine, Rome/Treviso, Italy, 2000

While still at school in 1980 I got onto the A-level history of art and printmaking course at the LCP. It opened my eyes to a very exciting world that I wanted to discover more about and be part of. It was here that I discovered graphic design, through the annual degree show, and instantly found my vocation. I stayed on at the LCP and attended the art and design foundation course, and in 1983 I started the three-year BA graphic design course at LCP. At the time The Face Magazine had made a huge impression on culture and media and captured the creative spirit of the time: every single page was exciting, with not only its design but also content. Neville Brody was the magazines’ art director at the time, and had recently graduated from the BA graphics course. At the time, what he was doing with The Face was inspiring to all of us at the LCP. I also did my thesis on Spanish design, which opened up

a whole new world of opportunity for me through design and one which I was literally able to go to and participate in. I have fantastic memories of the LCP: I learnt a lot from my fellow students, from not only my own year but also senior and junior students on the course. We motivated each other. Discovering OCTAVO magazine in the LCP library, going to the Hacienda in Manchester with my fellow student David Richmond, and going to see a small band performing in London with an audience of 100 called The Smiths. In young designers I value common sense, enthusiasm and generosity. Good design education needs strong community – learning, collaborating and motivating one another. A community which constantly questions what makes good design and how to contribute to making life better for society. I see this happening at LCC.

The Design Museum Identity, London, UK, 2016

The Tentaciones. Weekly entertainment supplement for El PAIS newspaper. Madrid

Host & Alumnus: Nick Bell

Audio-visual installation of six giant screens at the core of British Nuclear Fuels Visitor’s Centre

NICK

BELL

Professor Nick Bell, UAL Chair of Communication Design, LCC alumnus and early signatory of Ken Garland’s ‘First things First’ Manifesto, was Creative Director of Eye Magazine and currently runs Nick Bell Design.

When I was a student of graphic design at LCP during the 1980’s our tutors divided into three camps: the flamboyant artist image-makers; the reserved space-orchestrating typographers; and the mind-blowing cultural commentators. We spent our time at LCP trying to reconcile these clashing imaginaries while on the receiving end of surprising and often contradictory advice. It was however a complementary conflict, the outcome of which was we found ourselves making our own decisions, while combining the tropes of all available mind-sets, concocting our own crazy hybrids – thinking for ourselves. The experiences of graduates reveal that large swathes of the design industry haven’t really been quite as keen as they have claimed to be on designers who are good at thinking for themselves. The classic atelier spearheaded by vertical iconic figurehead(s) feted by small gangs of earnest assistants is still a model that the graphic design profession shows a naggingly persistent bias toward, even though the design world is becoming a flatter place to work in. Thankfully, LCP has never taken too seriously the sermons handed down to it from any irritated lofty atelier on how it should serve professional practice better. Right through to its present incarnation as LCC it has typically produced graduates that the profession has to adjust to, rather than the other way round. Designers in whose output the hand of no single mentor can be detected. In a society and culture undergoing fundamental change, we are beginning to learn that a career in communication design offers no certainties, no guarantees – only certain surprise and guaranteed opportunity. If there is one thing that should be questioned more than any-

thing – one thing assumed to be complacent – it is current practice. For example, it has been current design-group practice to provide a service directed remotely from the outside in, a service that is switched on and off according to packages of activity we call projects. And at the project’s conclusion, it is our habit to wash our hands of the matter and move on. This has been normal practice for as long as many designers can remember but rising in significance are the many critical voices drawing our attention to the complexity of an array of global challenges now facing us that governments are failing to dent: climate change, terrorism, broken economic models, mental ill health, etc. This critique asserts that these issues require a deeper sort of engagement found beneath surface symptoms where canny contributory factors can be unearthed – something that has been eluding not only design but also public policy makers up until very recently. It’s a critique that asks for an interaction that is intensely collaborative and intertwined with many varied specialisms. It’s one that demands a dialogic practice where expertise matters yet is much more open, sensing and co-productive with people, (rather than for them), and on the ground where they live, in their places. All attributes of an empathic, ethnographic and trusted practice that could have designers asking themselves why they would want to delineate bouts of professional practice with episodes of hand washing. What will it mean to be professional? Will design become an open-ended, on-going activity? We can look to LCC for clues.

Front and back cover of Eye Magazine: Issue 53

Host & Alumnus: Simon Clowes

SIMON

CLOWES

LCC alumnus Simon Clowes joined Kyle Cooper at Prologue Films in LA after graduation: remaining in America, he recently established himself as an independent director.

Host: Erik Spiekermann

ERIK

SPIEKERMANN

Renowned information architect, type designer and author Erik Spiekermann in 2015 established galerie p98a, an experimental letterpress studio in Berlin. Many of Erik Spiekermann’s fonts are considered modern classics.

Eleven years after graduating from the London College of Communication, Graphic and Media Design course, I am now living and working as a designer and creative director in Los Angeles. I had never imagined, for one minute, when I started my journey at LCP, that the education I received and projects I completed, as part of my final year, would have afforded me the opportunity to be where I am now. Having worked alongside Kyle Cooper after being accepted to work at Prologue Films, I have been fortunate to have opportunity to design title sequences for films such as Sherlock Holmes, X-Men: First Class and television show title sequences such as Elementary. At LCC, I remember not understanding why we had to attend letterpress classes, cut out rectangles of various lengths in order to create “typographic” compositions in a grid, or tediously draw numerous letterforms before we could ever make something on the computer. It was only when I was in the final year of the GMD or when transi-

tioning into professional practice that it all started to make sense. I learnt that as a designer, conceptual thinking and idea-generation is key, and technical software skills are something that could be (and in my case) had to be developed in my own time. I value young designers that primarily have a strong typographic and conceptual background and possess the ability to talk intelligently about their ideas. I believe education can successfully relate to professional practice by incorporating live briefs and providing the guidance and opportunity to internships during courses of study. There should be a focus on freedom of exploration and experimentation. Also an emphasis on both critical and conceptual thinking, along with encouraging students to not produce a finished product in the most obvious way possible. Students must also acquire contextual understanding of the cultural significance of what they are making. I owe a lot to the London College of Communication.

In the 1970s, when I taught at the LCP, typography was one of the core disciplines, and it certainly still seems to be an important subject. Peter Rea ran a class called “Advanced Typography” and I was his assistant. We tackled “wicked” briefs, like displaying time by typographic means only. Anthony Froshaug held court and Brian Grimbly was another proponent of “hardcore” typography. We had a decent composing room downstairs in the design annex, while the workshop building was essentially a printing plant with all the typesetting and printing equipment available at the time. I started MetaDesign in 1979, while still teaching parttime at the LCP. As our studio grew into Germany’s largest, I kept meeting designers who had been at the LCP.

Neville Brody and I started the FontFont label, and Robin Richmond was one of my partners in MetaDesign London. And when we hired people for the London studio, it always turned out that those whom I would call typographers, had been to the LCP. Paul McNeil and Hamish Muir involved me when they were redefining the Graphic & Media Design course, and I am in touch with a lot of alumni and teachers from the LCP/LCC. I now run an experimental letterpress workshop in Berlin, so in a way I’ve come full circle – all the way from the Elephant & Castle. I don’t particularly miss that neighbourhood, but I certainly know how much I owe the University. My career has been significantly tied up with the world-famous LCP/LCC.

Opening cinematic to the video game franchise Destiny

X-Men: First Class, Title Sequence

Transit Diagramme; redesign of passenger information system after the reunification of Berlin 1990

FF Real, digital typeface cut as wood type in 16 pica. Poster printed letterpress

Host: Philippe Apeloig

PHILIPPE

APELOIG

Philippe Apeloig is Franceâ&#x20AC;&#x2122;s leading design practitioner, overall winner of the International Society of Typographic designers (2009), some of his posters are exhibited at The Museum of Modern Art, New York.

I have much advice for students of design in regard to clients and the context in which they work. First of all you must be honest with the client who comes to you and honest with the audience who will see your work. You need to be loyal too. This sounds very moral but it needs to be in your mind at all times. You dare to educate the client and the consumer. You help them to look and to feel. You cannot do this through gimmicks or what they already know. You have skills and knowledge and that gives you the right to push the outcome a little further from the one they had in mind. Thatâ&#x20AC;&#x2122;s your role as a designer. When I emerged from Total Design with all my modernist ideas, I had a hard time understanding why clients were difficult to convince. I could not understand why people from huge administrations were largely stuck in

ugly, old-fashioned traditions of typography and communication. Now younger clients, who have so much access to examples of great design, need energy and audacity to create beautiful and meaningful work, but it is not always the case. Designers need to assert themselves and develop the spirit to be bold and determined. Quality is to be celebrated. Quality stands the test of time. I encourage the design students that I mentor to celebrate being a designer. We are free and can survive by our work. This is my definition of success. Success is also being loyal to oneself and not compromising. My advice to design students and those who have interned with me from the London College of Communication, is to learn their craft carefully, to be knowledgeable about the history of their discipline and to behave like artists and not like business people.

The Twenty First Century Art Book, Published by Phaidon

Wallpaper covers, November, 2005

Computer-generated punctuation for the poster, Vino in Typo

Host: Philippe Apeloig

DPS Students

We wish this year’s graduating cohort of Diploma in Professional Studies students every success in their future careers and trust that they will keep in touch with the London College of Communication and always feel part of our world-wide community of LCC Design school alumni. Alessia Arcuri — alessiaarcuri.com Katie Baggs — the-dots.co.uk/katiebaggs Sarah Louise Bingley — sarahbingley.co.uk Roxanne Bottomley — rrlbottomley.tumblr.com Luca Bresolin — graphemica.co.uk Piper Burrows — pipburrows.com Lauren Cotterell — cargocollective.com/laurencotterelldesign Dale Croft — cargocollective.com/dalecroft Emma D’Alba — instagram.com/emma_dalba Emma Freya Smith — freyaesmith.com Tom Greenhill — cargocollective.com/tomgreenhill Maria Hamer — mariahamer.co.uk Ryan Hamilton — cargocollective.com/ryanhamilton Grace Hands — gracehands.co.uk Karina Hristova — karinahristova.com Mari-Liis Ilves — mariliis.co.uk. Sayeed Islam — behance.net/Sayeed www.instagram.com/sayeedi Beth Johnson — bethjohnsondesign.co.uk Chloe Kelly — behance.net/chloemariekelly Vaida Klimaviciute — cargocollective.com/vaidakikilis/Index Ho Ming Lam — hominglam.com Cheuk-Lam Lee — www.behance.net/Cheuk-Lam Jihye Lee — hijihyelee.com Ben Leonard — benleonard.co.uk Stefania Lucchesi — stefania.lucchesi.co.uk Loi Xuan Ly — vimeo.com/loixly Sophie Newton — cargocollective.com/sknewton Christopher Ong — chrisongdesign.squarespace.com Damion Robinson — DamionRobinson.com Grace Scarlett — gracescarlett.com Chrisitan Schmitz — christianschmitz.es Karunreer Singh Agimal — karunagimal.com Jack Sheppard — cargocollective.com/jacksheppard Gan Yeong Shin (Serena) — cargocollective.com/serenaysportfolio Koen Slothouber — koenslothouber.com Karina Stolf — cargocollective.com/karinastolf Emily Jane Todd — emilyjanetodd.co.uk Wilfred Turkington — wilfredturkington.com Oliver Zandi — zandiprojekt.com Konstantin Zhukov — konstantinzhukov.com

Alex Hunting was selected to design this publication. An alumnus himself he designed a publication on his return from DPS with Charlie Hocking entitled Be Brave which has become a mantra for the Course. Alex is an independent Art Director and Designer based in London. He has been awarded by D&AD, The Art Directors Club of New York, Creative Review and The Society of Publication Designers. — alexhunting.co.uk

VISIT: ARTS.AC.UK/LCC Thanks to this publication’s featured alumni and designers: — Jeremy Leslie Shaz Madani Randy Yeo Fraser Lyness John Glasgow Beccy Mccray Jo Kotas Loren Platt Jo Glover Nicola Ryan Shinji Pons Callum Copley Lucy Brown Kuchar Swara Rebecca Lyndon Danny McNeil Paul Jenkins Netta Peltola Angus Hyland Daniel Chehade Jessica Bishop Chrissie Abbott James Medcraft Charlie Hocking Corin Kennington Simon Connor Stephen Cross Kate Burn Chiara Astuti Martina Giulianelli Anna Cennamo Astrid Stavro Eddie Opara Chris Morley Jonathan Ellery Fernando Gutierrez Nick Bell Simon Clowes Erik Spiekermann Philippe Apeloig