Communication Design Degree Show Catalogue by The Glasgow School of Art

Degree Show Catalogue 2022 School of Design

BA (Hons) Communication Design BA (Hons) Fashion Design BA (Hons) Interaction Design BA (Hons) Interior Design BA (Hons) Silversmithing and Jewellery Design BA (Hons) Textile Design BEng & MEng (Hons) Product Design Engineering MDes Communication Design

Introduction A warm welcome to the 2022 School of Design degree show. This is my first year as the Head of Design and I am delighted to have joined the Glasgow School of Art and to be leading a world class school of talented students and inspiring staff. This year we are delighted to fully return to a public exhibition in the Reid Building for all our graduating students work after a two-year hiatus. We hope you will have the opportunity to experience the work in person and in-situ as you move between rich sensory experiences across our stunning building. Our school is one of design and making, equally committed to what is an affirmative creative process of production and consideration of all media, objects and artefacts across a range of locations and/or scales. The process of designing, discussing, and making work in our studios engages our senses and is a rich tactile material experience for all our disciplines.

Professor Stephen Bottomley Head of the School of Design

The work is a celebration of each student’s individual achievement, the show a reflection of our creative community. Sharing these very human and social dimensions of our practices is a great pleasure, especially after a time of social distancing when many of these types of natural engagement were not possible or simply not permissible. This year, for the first time, the School of Design is creating matching printed handouts for all our departments, that collectively document a snapshot of the class of ’22. Our parallel on-line digital showcase, each has a page individually curated by our students, that contains further opportunities for exploration into the work of each of our graduate’s portfolios. I wish all our graduates every success and congratulate them on the culmination of their studies over what have been such recent challenging times for all.

Design History & Theory As part of their degree, all BA Hons School of Design students submit a substantial piece of written work to the Department of Design History and Theory (DH&T) and a synopsis of every one is included in these pages. Students may opt for either a shorter (5,000 word) or longer (10,000 word) submission, the latter being a third of their overall degree submission. In addition to the two lengths, there are three different modes of submission; essay/dissertation; critical journal (exploring the author’s studio practice in a larger critical and cultural context); or curatorial rationale (an in-depth proposal for an exhibition with its subject and venue the choice of the author). All DH&T staff are involved in the supervision of Honours submissions, which is on a one-to-one basis, and it is always a pleasure to guide what is always a wide range of fascinating and challenging projects. DH&T is independent of studio, with its own external examiner, and upholds a principle of free subject choice. Therefore, while some students write on topics directly concerned with their studio practice, others explore topics that seem to have no bearing on it, often personal interests or socio-cultural issues. This does not mean they are unconnected with studio, however, as the creative process is one of thought and all these submissions are deeply thoughtful, often informing practice in intangible, but significant ways. Nicholas Oddy Head of Department of Design History & Theory

Finally, congratulations to everyone who has submitted this year. As a group you have generated almost a million words, testament to your commitment to DH&T. On behalf of all in the Department, good luck in whatever the future holds. ↘ ↘ D ↘ ECR ↘ ECJ ↘ EE ↘ CR CJ

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Communication Design Congratulations to this year’s graduating Communication Designers! This concludes an epic journey for them, set against a dramatic, unpredictable and ever-changing backdrop. In their years with us they have demonstrated tremendous resilience, adaptability and resourcefulness: exactly the kind of attributes employers are looking for! In keeping with the programme ethos, you will find a show brimming with ideas and curiosity, incorporating the traditional skills of drawing, printing, photography and other graphic processes along with video, sound, interaction, animation and moving image. We are excited for them as they move on; proud of their achievements and highly confident that they will make valuable contributions wherever life may take them. And so, well done to all of you, we wish you well and please do keep in touch!

Steve Rigley Programme Leader

“You will find a show brimming with ideas and curiosity”

Abigail Allen I am a multi-disciplinary graphic designer working primarily with identity and editorial design. Integral to my work is a strong consideration for detail, materiality and making across both digital and physical media. I am conceptually driven and often explore themes around gender and domestic life in my work. Collaboration has informed my practice this year; I enjoy working on multi-dimensional projects which recently has spanned across branding, animation, exhibition and packaging design. Throughout my work I have an inquisitive approach to research and an iterative process of crafting a solution to best suit its audience. ↘ Folkhemmet: The Evolution of the Swedish Nation Brand. This essay discusses the role of the Swedish Folkhemmet (literary translated The People’s Home) in the evolution of the Swedish nation brand. It is argued that Folkhemmet initiated a positive trajectory for the Swedish nation brand as being defined as democratic and progressive. Furthermore, Folkhemmet has established a framework for the Swedish collective identity which is being utilised by both the Swedish nation brand and the global company IKEA. In this way, Folkhemmet is being recontextualised to suit the needs of contemporary society. EE

↘ abigail.allendesign@gmail.com ↘ @_abigail.ea

Agnes Boman Much of my work is created in an attempt to convey an emotion. I’m interested in personal stories and the magic that can be found in ordinary life. Topics I’ve worked on include memory, grief, loneliness and addiction. I enjoy the challenge of taking something as abstract as a feeling and turning it into something recognizable. I let my work take on different forms in order to let the story be at the heart of my decision making. Animation is my current favourite medium because I can play with the impact of motion and sound to create an audiovisual experience. ↘ The Shaming of the not Ashamed: A Case of Alexander Bard. In this essay, I use the historical and philosophical lens of shame to examine a significant case of professional dismissal due to public outrage. The Swedish television celebrity Alexander Bard lost his job as a judge for Sweden’s Got Talent due to a controversial tweet posted during the Black Lives Matter protests, and this example is an important topic for examination because it lies right at the intersection of different standpoints on so-called ‘cancel culture’. My methodology is predominantly literature review. Using contemporary media formats, self-publishing platforms and books as well as news articles as well as case studies, I seek to demonstrate how similar scenarios to Bard’s case have played out in the public sphere. I examine the role of free speech and how it is used in current political discourse and I use Bard’s case to test the validity of these points of view. My approach is self-reflexive which is important in trying to examine a sensitive topic such as this. Intending to give a balanced overview, I argue the points of both sides. My intention is not to interrogate right and wrong, but to uphold why such a pursuit is in itself fruitless. EE

↘ agnesxan.com ↘ agnesxboman@gmail.com ↘ @agnesxan

THE GLASGOW SCHOOL OF ART

Amy Ortiz Inspired by the history of alternative, queer print culture and the process of grassroots community building, this final work collates the findings of their research into an examination of belonging. Pairing eclectic lines of research with expressive mark making, “Principles of Belonging” plays with our tendency to group individual things together, both visually and socially. ↘ The Politics of Queer Belonging: Exploring Identity and Community Formation Through NI’s LGBTQ Print Subculture, 1970-90s. This dissertation investigates the social benefits and necessity of alternative material culture in the process of community formation and the consolidation of queer identities. Specifically, it explores how counter culture print has featured in the lives of the LGBTQ population during the fractured conditions of Troubles era Belfast between the 1970s and the 1990s and its key role in the development of a network of self-sustaining queer communities. This research reveals not only the often life-saving work of social networks cultivated by print culture at the time, but also the long-term influence of this era on the current queer community, highlighting the practice of archiving as a mode of regenerating interest and affirming LGBTQ+ belonging both past and present. To analyze this relationship, I use examples from recently collated Northern Irish archives, critically discussing material produced by LGBTQ+ organisations, women’s activist groups and queer individuals. In examining this material, another central aim is to reveal a different narrative within Northern Ireland, whilst still paying particular attention to how conflicting intersectional identities and ethnonationally divisive politics affect LGBTQ+ expression. D

↘ amy_ortiz@hotmail.co.uk ↘ @yam__ortiz

Blair Stobie My practice involves illustrating through model-making. This year, I have been interested in The Puppet, and the way in which a puppet is a coded object of the uncanny. I have explored puppetry as a technique for leaning into discomfort and performing behaviours whilst preserving the self-image. I am moved by transgression and recently have been exploring themes of Queer shame. I have found that there are many ways in which shame can be a powerful tool and how communities can be formed due to collective shame ↘ Fictions of The Self; A Comparative Analysis of Puppets and The Digital Avatar as Extensions of The Self. This essay explores the idea of extensions of the self in relation to puppets and the digital avatar. Seeking to define what value a puppet has in the 21st century, it shows how they can enable self-exploration and experimentation. It also considers examples of puppet theatre from across the last century and identifies how ideas have manifested differently in the 21st century. Referring to Carl Jung’s archetypes of The Persona and The Shadow, it considers the reasons why puppets and personas may be used as extensions of the self and how they allow the puppeteer or user to lean into uncomfortable areas and take risks whilst preserving their own self-image. EE

↘ Blairstobie@me.com ↘ @bstbie

BA (HONS) COMMUNICATION DESIGN

Caleia McKennan My photographic practice is primarily concerned with documenting my immediate environment and through my images and broader research, I try to make sense of this world. Most recently my focus has been exploring the complex situation revolving around the divide between the Catholic and Protestant communities within the Central Belt of Scotland and latterly Northern Ireland. Within this divide I belonged to neither side, but it has been ever-present in my life growing up in Central Scotland and something I have always wanted to explore further. This first part of this ongoing project, entitled ‘Loyal’ primarily explores the Protestant community. ↘ How Central Became the North: A Critical Journal Addressing the Sectarian Influences Scotland has Taken from Northern Ireland. ‘How the Central became the North’ is a critical discussion of sectarianism and historic rivalries in Scotland and the influences from Northern Ireland. I compare and contrast Catholic and Protestant religions and whether their vehement rivalry is really beneficial (or harmful) through the telling and representation of stories from central Scottish communities. I refer to theories and writings of Esther Leslie and Walter Benjamin, specifically their understanding and evaluation of photography and the meanings behind photographs with reference to my process of development in my own practice to allow me to hone my own techniques in photography and understand how I want to achieve influence through communication design. I explore the applications of these skills in storytelling, visual metaphors and communication in hope of conveying insights into the worlds of the Catholics and Protestants through imagery in my final project.

↘ cmckennan@hotmail.co.uk↘

Chloe Keppie My graphic design practice employs a research-led approach to explore my identity, heritage and culture. From referencing my upbringing in Shetland to uncovering family history in private archives and collections, I analyse these narratives to create work that reflects the historical and cultural landscape which has shaped my background. I express these ideas predominantly through typography, publication design and printed matter— this year creating a typeface which reflects the history and sound of the Shetland dialect and designing a catalogue that aims to present and preserve artists and designers from my ancestry. ↘ Once Upon A Time in Shaolin: An analysis of the value of music as art in a world of mechanical reproduction. This essay discusses the value of music as an art form through the example of ‘Once Upon A Time in Shaolin’, a one-of-a-kind record produced by the hip hop group Wu-Tang Clan, who wished to present the argument that mass-replication has changed the way consumers interact with recorded music. To provide the background for Wu-Tang Clan responding to this issue in the music industry, the history of recorded music is first explored, from its origins as a primitive form of communication, to its current digitised state. The next section examines the object of Shaolin, considering its format as a Compact Disc, its intricate casing, and the ephemera with which the album is presented. The work takes on a new meaning in the third chapter, where its new ownership by cryptocurrency collective PleasrDAO is scrutinized. The utilisation of a physical musical art piece by a collective that focuses on digital files provides insight into how the music industry is changing and developing. Finally, the lasting impact of the record is discussed to determine if Shaolin has accomplished its purpose of increasing the inherent value of music as art. EE

↘ eippek.com ↘ @eippek

THE GLASGOW SCHOOL OF ART

Ellen Nacey As an illustrator I’ve always felt drawn to colour, shape and composition and how all these elements integrate and compliment one another. With interests in children’s illustration, book cover design and surface pattern design, I’ve found that these forms of communication lend themselves well to my illustrative style. The meaningful concepts of my work are integral; mental health and wellbeing being a key theme within my practice. Discussing sensitive but important social ideas with a nurturing and thoughtful touch has been a big focus this year. I hope to continue this in the future, helping others and making a difference ↘ Body and clothing as a form of characterisation: a close analysis of the film franchise ‘Bridget Jones’s Diary’. This extended essay investigates and analyses the ways in which Bridget Jones, from the ‘Bridget Jones’s Diary’ movie franchise, is characterised through her body and clothing and how this has been informed by broader societal discourses around women’s bodies. The first chapter discusses specific themes and tropes within the films, particularly focusing on fat phobia, body image and objectification. The second chapter explains the discourse and contextual history at the time when these films were produced and different types of media from the millennium period. The third and final chapter analyses and explores distinct scenes within the films with an aim of exploring characterisation through clothing, styling and the body. EE

↘ naceyellen@gmail.com ↘ @ellustrated

Emma Ralph Initially studying languages and linguistics, I began this course to explore signs and symbols in a more hands on way. This year I have focussed on type design, typesetting, motion and code. My final project involves web scraping, the varying vocabulary of news websites and organising in-formation in alphabetical order as a way of analysing word choice. Other projects this year have looked at: how to typeset the two different voices of an interview; visual identities for exhibition spaces; using type design and archive material to explore the censorship of queer personal ads in the late 60s/early 70s. ↘ Google Earth as Thomas Cook: The rationale and consequence of Google Earth’s touristic brand voice. Beginning with the observation that Google Earth’s brand voice could almost be mistaken for the vocabulary found on Thomas Cook’s website, this essay questions why Google Earth plays into a touristic gaze throughout its branding and interface design. Contextualised with a brief history of theories of the gaze, the rationale behind this design decision is questioned, as well as the possible consequences of using a touristic gaze associated with distance and spectacle. Criticising Google Earth for amplifying a gaze associated with exotification, I question whether Google Earth’s interface allows for anything other than a homogenisation of experience. I conclude that, whether it exoticises or not, Google Earth’s brand voice could be an example of culture accumulating and that, while Google Earth is a new technology, technical innovation cannot separate it from the history of which it is part. EE

↘ emma-ralph.com ↘ ralph-emma@outlook.com ↘ @alsoemmaralph

BA (HONS) COMMUNICATION DESIGN

Grace Carroll My practice is carried by an interest in points in time where natural history, human history, language, and culture intersect. My work involves collecting information, thoughts, and archival material, sifting through, and highlighting subtle connections between people and the landscape. Collaborative practice and finding a harmony between digital and analogue processes has informed my work this year. I often use alternative processes of creating visuals that reflect the concept, for instance, printing with peat; a process that furthers the idea of the usage of landscape and embeds pieces of the land and culture directly in the materiality of the work. ↘ Minecraft as a Microcosm: A cultural analysis of the ways in which games engage with or mirror social, cultural or artistic ideologies. This dissertation aims to highlight games as a unique cultural form of media, exploring the relationship between virtual reality and actuality. The dissertation also aims to analyse culturally the ways in which games engage with, or mirror social, cultural or artistic ideologies. Through readings of Foucault’s theories on heterotopias, this dissertation explores the ways in which game landscapes mould, reflect and distort actuality. Beginning with an analysis of game landscapes and their relationship to artistic concepts, the world building games of Skyrim and Minecraft are analysed in relation to ideas discussed by Edmund Burke and Robert Moore. This analysis will continue over to the next chapter where the gender politics in Minecraft and Bloodborne are explored, comparing their representations of gender with ideas prevalent in the Renaissance period and contemporary popular film. The following chapter explores capitalism, neoliberalism and the Anthropocene through Minecraft and The Last of Us. Finally, there is an analysis of games as a distinct cultural form of media, discussing the works of Wafaa Bilal and Dan Hett. D

↘ gracecarroll.cargo.site ↘ Grace-carroll@outlook.com ↘ @gracecarroll

Greer Lockyear I am a graphic designer driven by the joy I find in people’s personal histories. My work is rooted in uncovering forgotten narratives and overlooked aspects of our everyday lives. Through exploring archives, whether that be rare private collections or deep diving into reddit threads, I aim to find interesting nuggets of information that can then become the linchpin of a project. I enjoy working with typography and printmaking as a means to communicate ideas, often utilising existing visual languages such as motorway road signs or 17th century songbooks- and playfully reframing them in a new context. ↘ Eat the Rich: A Discussion of British Identity and Royal Commemorative Food Packaging. This essay discusses the intersection of the public image of the Royal Family and British national identity through the lens of food memorabilia made for royal commemorative occasions. Looking at the semiotics of packaging and food contents, I examine the extent to which British identity and tastes have changed over the past 150 years. I deploy the approach of Roland Barthes to analyse the objects .I begin by focusing on 1887-1997, Victoria’s Golden Jubilee to Elizabeth II’s Silver Jubilee), the period in which the archetypal modern view of the Royal Family was formed. The second chapter examines the years 1977 to 1997. In this period, products reflect growing consumer culture in Britain and emerging conflicts with traditional aspects of British identity. The final chapter considers 1997 to 2018, when we see Britain adopt a more multi-faceted identity. Overall, I show how the image of the Royal Family is no longer equated with the deep nationalism it once was and has instead become more complex and diluted. EE

↘ greer.lockyear@gmail.com ↘ @greeryear

THE GLASGOW SCHOOL OF ART

Jess Wishart The work I have been creating this year started with a desire to visualise the coming together of the digital self and the real self. The space between these two states grows closer, and so we must question, who does the digital self exist for, and, who does it belong to? Information about most of us online is vast. Using images of myself that are searchable online and across social media, I have been coding to create neural networks that have been trained to replicate and generate alternate versions of these sets of images that don’t exist in reality. This project about machine learning aims to start a dialogue around how much control we have over our personal data, and the potential consequences of not knowing what is and can be done with it. ↘ The Hoax as an Artistic Device. This essay is an investigation into the hoax as an artistic device, where a hoax is an act that purposefully and publicly deceives a target or audience with the intention that the deception will eventually be unveiled. The investigation begins by looking into the artist as the perpetuator of hoaxes, and how their personal motivations and responsibilities can impact upon the overall success of what they are trying to achieve. Specific case studies of artistic hoaxes are used from the early 20th century until the present. Secondly, the essay discusses the importance and role of the audience in relation to artistic hoaxes and how this genre of work relies heavily on a dynamic between artist, artwork, and viewer. Lastly, the essay looks at the societal impact of hoaxes and their place in the art world, as well as our desire to find enjoyment and stimulation in these events. EE

↘ jesswishart.cargo.site ↘ jesswishart@hotmail.co.uk ↘ @jessamiahh

Jiawei Zhao My imagination has always been an incredible driving force in my life, and has done and still does have influence on almost everything I do. I have always been interested in creating graphic designs using computer software, but I am now finding that using traditional means are just as enjoyable. My works have an exploratory attitude towards the Beatles typeface, trying to connect with the Beatles culture and spirit. My works refer to the history of English font design and explore the relationship between popular culture and design. ↘ Research on urban public art design strategy based on emotional experience. Public art refers to an art form existing in urban public space. Its role is to repose the public’s emotional ideas, improve the urban image and improve the quality of urban environment. However, at present, the relationship between the public and public art is mainly in the form of one-way appreciation and there is a lack of communication between people and works of Art. In this extended essay I research urban public art design strategy based on emotional experience asking three key questions: What are the common problems in today’s urban public art? What is the public’s understanding of, satisfaction with and preference for public art? What design strategies based on emotional experience can help improve the quality of urban public art works? Due to COVID-19, I used literature analysis to investigate the public art works of eight European cities, and field investigation to research the public art works of six Chinese cities. I also used a questionnaire to explore the public’s satisfaction with the public art and emotional experience needs of urban dwellers. EE

↘ jiaweizhao888@gamil.com

BA (HONS) COMMUNICATION DESIGN

Joseph Learmonth I am interested in the worlds we create and choose to spend time in. The inside of our heads for instance, or the internet, or the fantasy realm of Dungeons & Dragons. I aim to portray issues of the real world through the lens of these imagined worlds. I try to get to the core of an idea using humour, which is a crucial element of my work. I think art is best when it gets you thinking by making you laugh. ↘ Small Worlds: How Chris Ware Uses the Medium of Comics to Depict Alienation in America. My essay focuses on the comics of Chris Ware, specifically how he uses this medium to depict a sense of alienation in America. I contextualise Ware’s work, exploring its reception and popularity amongst critics and fans, as well as its study by academics. I provide a brief biography of Ware, citing early influences and explain how his body of work has formed over his career. I define the word ‘alienation’, taking into account its Hegelian and Marxist philosophical meanings, as well as how it is used in literary settings. I am primarily interested in a visual and thematic analysis of Ware’s body of work, starting with a focus on his drawing style and his use of line and page composition. I analyse the characters he creates and the themes and emotional tones of his work. For the visual analysis, I consider how his art style enables reader empathy and functions as a ‘readable’ language of images. I discuss his use of page composition as a tool for audience interaction as well as a secondary channel for conveying ideas or meanings. I conclude by considering the broader messages of Ware’s comics, most importantly the idea that they set up a way of seeing the world as a network of hidden relationships and connections, that link everyone in a shared history made up of people and objects, but which remain undetected and undetectable. EE

↘ joelearmonth.com ↘ jlearmonth@protonmail.com ↘ @ideal_joe

Julia Villard As a visual communicator, I seek perfection and control in my designs. However, it is the small gap generated by mistakes that captures my attention. I have a keen enthusiasm for the loss and renewal of meaning between languages, spaces and boundaries. My practice draws on identity, editorial and exhibition design to produce compelling visual and textual narratives with a strong attention to material and digital detail. This year I have explored these interests through an editorial publication dissecting the link between the renaissance idea of mnemonics and our computerized memory today. ↘ Entre Fenêtre et Ecrans: Can the painted surface be virtual? Entre Fenêtre et Ecrans reflects on our contemporary understanding of the concept of the virtual through historical and philosophical acceptations of the term. It has been created in response to the Biennale of Digital Art: Beyond Reality (2021) at the Cent-Quatre Paris and is influenced by Les Immateriaux (1985) and Dreamlands: Immersive Cinema and Art 1905-2016 (2016). My research is supplemented by contemporary writings such as The Virtual by Robb Shields and The Virtual Window by Anne Friedberg and by philosophical essays by Baudrillard and Deleuze. The first part of this essay examines my exhibition’s choices of name, location, spatial layout and curatorial strategy and the second part looks at the chosen artworks thematically and in relation to one another. The first two rooms will show The Greeting (1995) by Bill Viola and a reproduction of the Sala delle Prospettive (1508-11) by Baldassare Peruzzi. Room three displays Caspar David Friedrich’s Monk by the Sea (1808-1810) alongside Wave (2009) by Peter Campus. Room four displays Still Life (1611) by Clara Peeters and Georges Braque’s Glass on a Table (1909-10) alongside Interface (1972) by Peter Campus. EE

↘ Julia.villard99@gmail.com ↘ @jvlld

THE GLASGOW SCHOOL OF ART

Katherine Wallace In my work I tend to draw on themes of social history and the relationship between place and identity, but my process is always firmly based around exploring and playing with narrative. I am inspired by hearing the stories of others, and appreciate finding ways to visualise them through a variety of different media. I work to turn them into something tangible in a way that reflects their truth. I aim to build landscapes within my images to convey a sense of atmosphere that speaks to elements of the familiar. ↘ Who is the city for?: With reference to Glasgow and Copenhagen, how do urban design decisions influence our relationship with the city? For this essay, I analyse texts from the 20th century which highlight the issues of community, poverty, and the effects of power-holding groups on how our cities are designed. To see how cities have evolved since the mid-twentieth century, I use modern day Glasgow and Copenhagen, two cities which are similar in terms of characteristics such as population size and relationship to water, as case studies. To evaluate how each reacted to modernist approaches to urbanity, I analyse their relative successes in the context of city planning ideals and subsequent theories of urban design, in particular with reference to use of public space, housing, and implementation of roads and highways. EE

↘ katherinewallace.design ↘ katheriineew@gmail.com ↘ @katheriine_w

Katie Simm I am a process-led designer. I enjoy learning new software and experimenting with its technicalities, to produce work that is both contemporary and innovative. I am interested in the process of designing generative systems - particularly how they can subvert their original purpose. My influences often lie within written media, I spend time investigating this subject area with plenty of breadth, from news articles to poetry. Subsequently, my work often explores narrative and how to show an alternative perspective. Currently, my practice focuses on type, motion graphics and creative coding. ↘ Prediction vs. Practice: The consequences of influencing 3–10-year-olds through the use of Artificial Intelligence. This dissertation questions if the use of artificial intelligence will become an essential tool for cognitive development of the future population? It analyses the way in which the toy market has embraced the introduction of interactive electronic features, partly due to the demand for devices supporting automated, unsupervised machine learning. Beginning with the speculations of psychologist Jean Piaget and neurologist Duchenne de Boulogne, the dissertation explores how the understanding of child psychology has changed to date. It goes on to consider the differences between artificial intelligence and analogue toys, and the considerations designers have made to adapt to their toys to appeal to different learning strategies, alongside how the personalisation of online games raises ethical issues of data tracking. The dissertation questions the effects of technology on children, the correlation between the rise of artificial intelligence within the toy market and the decline of physical interaction within the young population.

↘ katiesimm.com ↘ katiesimm29@hotmail.com ↘ @ksimmdesign

BA (HONS) COMMUNICATION DESIGN

Leonie Hiller Within my current practice as a designer, I value the materiality and tactility of outcomes and I like to consider using all the senses, which enables me to create playful, yet mature end products. For me, the concept is at the heart of my design process and influences the decision making in every step. I am interested in the themes of culture and society, which go further into the themes of nostalgia and heritage/ identity. These have influenced my past projects and I tried to incorporate them in the visual exploration of typography, moving image and design within the environment ↘ Living Room-An Exhibition About Domestic Design and its Influence on the Development of Society. This curatorial rationale is for an exhibition which will deal with domestic design and its influence on the development of contemporary urban society. Situated in Trellick Tower, which is a brutalist building in North Kensington, West London, the exhibition is accompanied by an experientially curated flat, masquerading as an ordinary example of modernist utopian domestic living with extraordinary artworks and objects. The location plays an important part in providing meaning and context for the exhibition and also highlighting the gentrification of a building that was built to ease the post-war housing crisis. The exhibition serves as a critique of gentrification and tries to bring the focus back to the working class and its influence on society. The chosen objects within the exhibition elaborate on this through the themes of gender, identity and subculture, as well as modernist ideas and what influenced them – themes which ultimately influenced some of my choices of objects.

↘ leoniejhiller@gmail.com ↘ @leonie_edited

Luca Hallam I am a communication designer interested in printed matter, book design and typography. I see design as an opportunity to be curious, and draw inspiration from systems, archives, and pattern to solve problems and develop meaning. My work is motivated by concept-led briefs and acute research, which evolve through playful making and material processes. I obsess over fine details, which translate into my work through meticulous processes such as perforating 25,300+ holes into paper by hand. ↘ Sustainable Design by Any Other Name: An Investigation into Pre-existing Methods of Responsible Design. Sustainable design seeks to reduce negative environmental impact by minimising waste and reducing consumption, specifically of non-renewable resources. Much of the design of the past two centuries has contributed to huge environmental suffering, and can be traced back to the consumer culture of post-war industrialisation led by capitalism. The research employed in this essay explores countercultural designers dating from early modernists who combined ethics and aesthetical ideals, providing possible ‘sustainable’ solutions long before they became as clear as they are today. Firstly, the work of William Morris in the Arts and Crafts movement is examined, which presents the importance of craft-based and durable approaches in commodity design to combat waste. Continuing an object-focused approach, Papanek’s views within the Humanitarian design period reveal that his strong opinions on social design contributed to an ecological standpoint denouncing obsolescence resulting from overproduction. Despite a plethora of systems emerging within the last two decades aiming to challenge ever-changing aesthetic trends and the search for novelty, it is clear that these initiatives echo pre-existing solutions. Both Morris and Papanek’s work predate mainstream discussion of sustainable design; the field of socially committed design would benefit from considering historical as well as contemporary perspectives. EE

↘ lucahallam.com ↘ lucahallam@gmail.com ↘ @luca.making

THE GLASGOW SCHOOL OF ART

Mark Burgoyne My current focus is to establish the relationship between my graphic design and photographic practise(s), sometimes distinct, often not - to develop an understanding of the thresholds and commonalities thereof. My work is developed through practice-led research driven by an intricate concept based methodology. I am interested in the exploration of memory, and through observation of both natural and built environments, the interrogation of meaning. Practically, my final year work is focussed on typography, in particular the development of a custom typeface, and an expansive photographic project exploring ‘place’. My practise embraces the tactility of analogue processes, synthesised with the immediacy of digital - forming a workflow that allows my varied outputs to form a cohesive body of work. ↘ Detail of the Dérive Reflections on Place, Memory & Photography. This critical journal focuses on a photography project which I developed over the course of my honour’s year at Glasgow School of Art. Picking up threads from an earlier project exploring place, history and stories written into the landscape, which I undertook as my first project at GSA and which informed a new perspective on reading and deciphering the world, it seeks to enable new approaches to making work while searching for an authentic voice and visual language. Beginning with practice-led enquiry, the research encompasses and engages with a broad-range of existing practices and theories, representing a broad range of works by other photographers, thinkers and graphic design practitioners from throughout the 20th century and more recently.

↘ maburgoyne@hotmail.co.uk ↘ @maburgoyneghost

Mark Faulkner My graphic novella about the Isle of Rùm is the main output of my studio practice this year. The narrative framework is based on a research expedition I undertook in winter, incorporating fantastical and historical elements from Rùm’s written, oral and visual heritage. I was further inspired by Bansho shashin zufu by Sadahide (1864) in the GSA special collections. The volume – drawn in sumi ink and risograph printed also incorporates collagraphy, typeface design, and utilises recycled waterproof fabrics in the binding. I hope I do my native Lochaber justice, and convey the engulfing wilds of the biggest Small Isle. ↘ Drawn Lines of Conflict: An analysis of political cartoons produced-in both anticipation and in reaction-to the Israel and Palestine crisis of mid-2021. The political cartoon has one of the richest heritages of any discipline within illustration. Since the first presses rolled, political cartoons have sought to express opinions and inform the public. The geopolitical focus is Israel and Palestine where cartoon journalism has played a fundamental role in forming the two nations’ respective identities and has helped people understand the conflict and how the present situation developed. A variety of cartoons have been selected for analysis, both domestic print examples, and ones by diaspora digital-media cartoonists. These raise issues of censorship and engagement, which will be analysed. I assess the extent to which the cartoons reflect or inform public sentiment, I analyse the conditions under which they were published, any ethnic or cultural prejudice they may be evident and its potential to fuel violence or, alternately, evidence of cartoonists seeking to bridge divides between communities in what is a diverse, tumultuous region. EE

↘ markhf.org ↘ mhf.png@gmail.com ↘ @mhf.png

BA (HONS) COMMUNICATION DESIGN

Mia Campbell Graphic designer with a love for layout and editorial design. My work is primarily digital, but I try to utilise analogue ways of making whenever possible. I enjoy working with socially relevant topics that are research focused. This year I have explored contemporary femininity and girlhood through my work, using my own interests and experiences to shape my process. ↘ To what extent is the appropriation of working class culture in social media damaging? This essay poses the question: is it trendy to appear working class? It explores stereotypes of the Skiver and the Chav that were perpetuated twenty years ago. Such stereotypes have now been culturally appropriated by a new audience. The ‘chav’ caricature is no longer confined to a comedy on the BBC, but is a viral sensation on video sharing app TikTok – But, just how much of an impact is this having? Appropriating popular elements of working class culture allows those from dominant classes to distance themselves from the socioeconomic implications. Clothing, one of the biggest signifiers of class, forms a large part of the discussion in this essay. I aim to unpack the political and sociological reasons as to why the middle and upper classes are the arbiters of good and bad taste. EE

↘ campbellmia1@yahoo.com ↘ @miacrumble

Mourad Kourbaj As an artist I enjoy interacting with the environment that surrounds me in various ways, observing movements, textures and compositions that would otherwise be overlooked. I would define my practice as expanding the field of illustration to become a broader way of looking at the world, using the mediums of moving image, photography and sound, amongst other things, to communicate my thoughts. My interest in the encounters I have with the textures and movements of the city have come to define my recent work, however I aim to maintain a curiosity that allows me to explore a wide range of subjects. ↘ The Alternative Eyes of The City. This curatorial rationale describes an imaginary, two-part exhibition ‘The Alternative Eyes of The City’. Using Baudelaire’s essay ‘The Painter of Modern Life’ and his description of the flâneur as reference point, I unpick how the ideas of this urban stroller can be brought into the world of today, addressing a shifting environment in which to explore preconceptions of the flâneur. I critique Baudelaire’s flâneur, highlighting the differences between how men and women access urban environments safely. The proposed performances in Part One: The City use the ideas of artists to consider alternative ways of exploring the streets. Part Two: And The City continues in the same vein, using the medium of a publication to showcase other artists whose work focusses upon walking. Part Two also considers the Situationists and their concept of the dérive. By showing the exhibition in nine global cities, I hope to encourage those who visit to participate, telling their stories and hearing those of other people. The Alternative Eyes of The City is a reference to the ‘eyes’ we never hear and see, the ones marginalised and hidden from view, and so I hope to open eyes to the unseen that makes the city move.

↘ mourad.ink@protonmail.com ↘ @mourad.ink

THE GLASGOW SCHOOL OF ART

Natalie Dawson Although also interested in documentary photography, this project, ‘As Far As Half The Time Left’, predominantly explores the symbiotic relationship between journeys, landscape and our emotions. Inspired by my late fathers love of the Yorkshire Dales, I undertook a series of walks to try and reconnect with both him and the place where he grew up. Sadly, I never had the opportunity to visit these places with him. Through this pilgrimage of sorts, I hope to collect fragments that start to piece together the experiences that lay on the threshold of reality and memory. I aim to communicate my projects through narrative and editorial design. ↘ Phenomenological Journeys: A critical analysis of my photographic exploration of the connection between physical landscapes and the landscapes of the mind. This critical journal analyses my creative process within landscape photography in conjunction with Jungian Theory and the process of walking as an act of research. Breaking down Jungian Theory into the three main components of the psyche, I examine how it relates to my photographic process and analyse my own work through a Jungian lens as well as examining the work of two other contemporary landscape photographers, Alan Huck and Frances Scott. I investigate what the experience and structure of walking does to effect the outcome of the individual photograph or body of work. Drawing from the writings of Liz Wells, Rebecca Solnit and Frederic Gros, I analyse their theories about walking alongside works by contemporary photographers Joel Sternfeld, Alan Huck and the artist Richard Long, referencing also my own work and experience of walking. Throughout, I focus on my current landscape project ‘Absent’ but also make reference to my previous landscape project ‘Liminal’ to compare and contrast my working process throughout these projects. ECJ

↘ nataliedawson.cargo.site ↘ natalie.a.dawson@gmail.com ↘ @natalieamydawson

Nathan Sheridan Through my practise, I try to marry both the historical and contemporary via combining the analogue process of letterpress printing with digital methods such as moving image, laser cutting and photopolymer plates. This allows me to explore both the former, historical limitations of the medium whilst also investigating modern-day, current possibilities. My work is typographic, allowing me to research the heritage of movable type whilst bringing it into the 21st century. Through this combination, I hope to show both the historical importance of letterpress printing and its relevance to modern design. ↘ Setting the World on Fire: To What Extent Does Bethesda’s use of Nostalgia in Fallout 3 Succeed as Satire? This essay examines whether the satire delivered via the 2008 game Fallout 3 is successful. I explore Guy Debord’s idea of spectacular time and Svetlana Boym’s concept of reflective nostalgia and how these relates to Fallout 3 with its use of Atomic Age and Cold War era advertising as a means of satirising America’s attempts at softening nuclear power in an era of paranoia and fear over the bomb. I examine Mark Fisher’s theory of pre-corporation and compare it with Boym’s concepts of nostalgia to examine the game’s anti-capitalist message. In the third chapter, I analyse the Tranquillity Lane – an in-game simulation of a 1950’s cul-de-sac – using Jean Baudrillard’s paradigm of hyperreality and Boym’s restorative nostalgia to examine whether the satire of American nostalgia and hegemony is a success. I also examine the Cold War paranoia shown in Tranquillity Lane due to a Chinese invasion using Fisher’s analysis of capitalist realism. I deduce that satire is used most successfully in this part of the game as it reflects our current political climate. EE

↘ @nathansheridanprints

BA (HONS) COMMUNICATION DESIGN

Niamh Campbell My graphic design practice consists of interests in identity, typography and publication design, working with both digital and physical outputs. This year in particular I’ve combined archival research with primary work to give context and narrative to my projects, pulling on research driven concepts. One of my recent projects has been creating a publication called ‘Mother / Father’ in which I curate personally selected books, chosen by my parents, to show the contrasts in interests through their personal bookcases. ↘ The Future of the Home. This exhibition proposal showcases pieces of work, both historical and contemporary, that explore the varying possibilities and methodologies of how habitation may look in the future, specifically within the space that is considered ‘home’. It covers a range of themes like prototyping, science fiction and futurology that all sit within a wider context of speculative design. The proposal includes a range of works that is encouraged to be viewed in a certain sequence for optimal clarity. Showcased works include short documentary-style films, science fiction clips, product design, interior spaces and architecture, all to be situated within ‘Gallery 2’ in the Gallery of Modern Art (GoMA) in Glasgow. The curatorial rationale is explained with relevant references to historical and contemporary designers and practices as well as curators and exhibitions. It explores how design for the future needs to both look into the past as well as the future and how this will be beneficial to individuals to help formulate their own thoughts.

↘ niamhocampbell@gmail.com ↘ @niamhcampbelldesign

Nicola Williamson With a passion for highlighting environmental issues, I have utilised my skills as a photographer and filmmaker to develop an effective visual language that explores the damage we humans have caused to the Earth. With a particular focus on how plastic waste and debris has affected marine ecosystems and the plants and animals that inhabit them, I hope that I can bring greater awareness to these pressing issues and encourage a change to the way we treat our planet ↘ The Power of the Screen. In this essay I explore the powerful messages that can be conveyed through filmh. I will highlight the connection made between the filmmaker and the audience and illustrate cinematic techniques that can be utilised to direct and influence the audience. I further explore the development of film cults and their associated behaviours. Beyond their entertainment value, the messages from films can be misconstrued within society for varying and often violent purposes. I question whether this is solely down to films’ influence or whether innate human nature is a significant factor. EE

↘ nicolawilliamson.org ↘ nicola9664@outlook.com ↘ @nicolawilliamson_art

THE GLASGOW SCHOOL OF ART

Nicole Junkin I am a graphic designer primarily working across book design, typography and identity. My practice draws from the digital and analogue, traditional processes providing an opportunity for tactility and a new perspective. My interest in historical and social issues has informed a publication, ‘The Other Side’- a collection of research focusing on the identity of the ceasefire generation in Northern Ireland. I enjoy delving into research and working on concept-driven identity projects, which allow me to playfully communicate themes and values through typography, colour and form. ↘ ‘Woke Washing’: to what extent can brands practise ‘authenticity’ in their activist messaging? In a changing consumer culture, brands seek to stand out by taking a stance on socio-political issues. ‘Woke-washing’ is the term used to define practises in business that give the appearance of social consciousness without action to support the social cause. Enacting inauthentic brand activism through the practice of ‘woke-washing’ can damage a brand’s reputation, mislead consumers, and in certain cases damage the efforts of activists working to take a movement forward. This essay explores the extent to which large brands claim authenticity in their activist messaging, firstly by looking at McLuhan’s ‘global village’ media theory and how this may shape identity. The essay considers how individuals have increasingly used social media as a platform to raise awareness of global issues and how brands increasingly echo the visual language of activists online. It also explores how in history similar methods have been used in advertising and media campaigns, such as the ‘Torches of Freedom’ campaign by Edward Bernays in 1929. The second chapter focuses on three brand case studies - Gillette, Nike and Ben & Jerry’s, exploring their authenticity and asking the question, to what extent can brands truly practise authenticity in their activist messaging? EE

↘ nicolejunkin.cargo.site ↘ nicolejunkin1@gmail.com ↘ @nicolejunkin_

Olivia Juett I am a multidisciplinary illustrator and maker working primarily with analogue processes. Much of my work draws attention to fleeting atmospheres; driven by observation, I explore how unexpected events are experienced, understood and remembered. Colour, texture and materiality form the basis of my practice as I work across 2- and 3dimensions to create immersive narrative experiences. I am interested in exploring how the tactility of print can be combined with other sensory stimuli and conduct my research through seeing and making; gathering and combining. ↘ I Get By: An exploration of objects as vessels for memory in public displays of friendship. This extended curatorial rationale explores how memories can be held within objects used in public displays of friendship. The hypothetical exhibition would take place at Somerset House in London. The exhibits are split into three thematic sections: David Hockney portraits and panda souvenirs from Edinburgh Zoo demonstrate how friendship can lead to self-improvement; ‘I May Destroy You’ and braided bracelets explore joy; and a beaded Seminole bracelet illustrates how emotional connections can aid in understanding. The overarching intention of the exhibition is to demonstrate how objects contribute to an additional, external permutation of our friendships, and to show how a mixed curatorial approach can weave memories into exhibition items. I also explore how the exhibition itself can be a social space, and how creative communities in the wider Somerset House network could be nurtured to encourage collaboration, support and (possible) friendships within the show’s framework.

ECR

↘ oliviajuett.cargo.site ↘ o.juett1@gmail.com ↘ @oliviajuett

BA (HONS) COMMUNICATION DESIGN

Oscar Wharton My practice uses digital methods of visual communication mainly animation and 3D rendering. For my degree show I created an immersive digital experience exploring issues of surveillance capitalism. I drew on the work of Dr Shoshana Zuboff, who argues that capitalism has always functioned in the same way: Taking things that are not part of the marketplace and commodifying them. Whether this be a forest, the side of a mountain or in the case of ‘surveillance capitalism’ the private experience. My work visualises what it could look like if we were able to see the tools used to monitor us. ↘ Subculture in the Postmodern World. I explore the changing form of subculture within postmodern society, the causes of these changes and their subsequent effects on wider culture and discourse. Drawing on Neil Postman, Marshall Mcluhan and Freidrich Kittler, I show how changes have primarily resulted from significant developments in how we communicate and interact with media. Through comparisons with previous media technologies and their cultural consequences, I explore the effects that contemporary communications technology have had. I hypothesise that many of the people who previously found solace in subcultural groups now find it online. Young people especially are often more inclined to create social structures that revolve around the increasingly corrupt online world, sometimes with very negative side effects. Through the lens of subculture I, explore issues of populism, radicalisation, exploitation of the consumer, psychology, interpersonal interaction and algorithmic oppression.

↘ oscarwharton@gmail.com ↘ @hidetheart

Rhian Lloyd I am interested in the theatre, hairstyles, poems and buildings. The ‘Star of the Show’ is a story about not getting what you want, which is something that has never happened to me. Some influences on the book were medieval manuscripts, my kitchen and feeling embarrassed. The best thing about this project was being able to draw all the time. ↘ Secular Scripture: Romance and religion in the legend of Tristan and Isolde. From the eleventh to the fifteenth century Europe was in a state of rapid change, with the possibility of international travel and the breakdown of the feudal system causing great social, religious and cultural shifts. The emergence of the courtly love tradition in eleventh century France was representative of these changes but also may have shaped them, and it continues to have influence over aspects of Western culture, media and literature to this day. The legend of Tristan and Isolde was one of the most popular courtly love stories of the Middle Ages, and images of it are found in both religious and secular contexts. Using examples of depictions of the story’s ‘love potion’ scene from England, Germany and France, I trace its representation through three centuries in order to ask how elements of the sacred and the profane meet in the legend and others like it. Courtly love narratives provided a necessary fantasy of individualism and heroism that aligned with the economic interests of the Church and the court, and I conclude that the spiritualisation of women is the most significant and persistent effect of the mutability between sacred and profane in courtly love literature.

↘ rhianlloyd1@gmail.com ↘ @rhianloyd

THE GLASGOW SCHOOL OF ART

Rosie Patterson My work primarily centres around editorial illustration and animation, focusing on condensing complex subject matter into accessible visuals. Through exploring dynamic compositions with vibrant colours, I seek to connect people to the important topics impacting our world today, by creating visually engaging and informative channels to introduce complicated ideas. My practice this year has taken inspiration from topics such as new media culture, the workplace environment, and our biological makeup. Though my work addresses heavy topics, I balance this with a playful approach, creating humorous visuals which are complimented by emotional depth. ↘ You Are the Commodity: The Effect of Surveillance Capitalism on Liberal Democracy. The system of surveillance capitalism encapsulates the commodification of our personal data, and how it is subsequently used to predict and influence human behaviour. This dissertation examines the various ways in which surveillance capitalists acquire predictive sources of our behaviours online, and how this can be used as a tool in political campaigns. This dissertation’s approach to surveillance capitalism analyses how the system is utilised by many of Silicon Valley’s big tech companies and how this has led to an intervention in global democratic processes, arguably negatively affecting free and fair elections. By examining the accounts and theories of the leaders in analysis of the system, such as Shoshana Zuboff, Tim Wu, Christopher Wyllie, and Cass Sunstein, I investigate whether there is a direct link between the utilisation of surveillance capitalism, and a decline in liberal democratic values. The dissertation shows how surveillance capitalism has polarised society, ensuring our preconceived ideas and opinions are strengthened as we are only fed one sided information, forcing us into echo chambers online. D

↘ rosieellendesign.co.uk ↘ info@rosieellendesign.co.uk ↘ @rosieeldesign

Sadie Brookes Multi-disciplinary communication designer working across physical and digital platforms with a specific interest in space, abstraction and systems. My work this year has been focused on combining researchdriven concepts with creative coding, web, editorial and exhibition design. I have been exploring the boundary between two-dimensional design and the three-dimensionality of lived space, through photographic and sonic approaches to abstraction. I enjoy working through process and iterating on ideas to create work that asks questions of what role communication design plays in the wider context of society. ↘ Towards Spatial Neutrality. This extended essay considers how western spatial practice is inherently gendered and reductive due to being based on historical norms that are repeated and reinforced through architectural design. The investigation commences by considering spatial theories in history, referring to ideas posed by philosophers and geographers and questioning whether these discourses are relevant in our contemporary sphere. The text discusses how the concept of gendered spaces has affected our built and lived environments and critically examines how works by Eileen Gray and Tadao Ando offer a non-conformist approach to architectural practice, looking forward to user experiences regardless of gender or other cultural factors. I am conscious of the heteronormative matrix that surrounds architecture and space-making, which is why I want to focus on how spatial designers have created ‘spatial neutrality’, a term I propose to describe environments that are performative and designed with a focus on more engaging aspects of spatial design such as sensibility, adaptability, and fluidity. EE

↘ sadiebrookes.com ↘ sadie.brookes@outlook.com ↘ @sadierbr

BA (HONS) COMMUNICATION DESIGN

Shannon Best As a photographer and videographer, my practice combines still and moving image making. Drawing on the natural world, mythology, iconography, psychoanalytic discourse, and gender politics, my work reframes and replaces familiar and conventional concepts or narratives, in order to reveal their qualities and their limits. Using the parameters of the constructed image, I hope to convey the contrivances embedded in our social realities. An environmental approach is essential to my work, and has become a large component of my degree show collection: centralising Gaia, the death process, and the life cycles of the Earth. ↘ Sleeping Beauties : Bare Life, Disease and the Romance Genre. Driven by historic and theoretic frameworks, this dissertation assigns the bio-political notion of ‘bare life’ to the female form as death’s hostage: held in between living and dying by her own image. It will argue that the trope’s visual architecture stems from the different forms of death prevalent within each time period: ranging from artefacts, paintings, literature, sculpture and social media, their differing forms and chronological ranges expose the trope’s adaptability, whilst simultaneously identifying its unvarying motifs. The Psychoanalytic theories of Freud and Lacan and their consequent feminist readings link the points of observation: paired with the mechanisms of semiotics underlined by Saussure, the interstice between the process of subjectification, signification and control is discerned. This interplay uncovers the bare-life-representation as a maintaining device for the western, phallogocentric system facilitating in its creation and circulation; proposes the reasoning for its influence over cultural discourses surrounding feminine and fashionable modes of dying, and speculates the intergenerational legacy of the bare-life-spectacle over modern states of disease and death.

↘ shannonbest.co.uk ↘ shannon42best@gmail.com ↘ @shannonbestart

Simone England My creative practice is research-based driven by a curiosity for uncovering untold stories, with conceptual thinking and idea generation being the foundation. My work is driven by discovering the visual language within unconventional themes and includes a wide range of mediums and techniques which are rooted and informed by my research. I am currently most excited by working with the design possibilities within archival material, film, and typographic solutions. Currently exploring themes of belief systems, historical storytelling, and niche points of interests. ↘ The Curious History of Celebrity Auctions. This curatorial rationale is a proposal for an exhibition about celebrity auctions. It documents their development from private collections to the present day and how society’s relationship with celebrity has affected how we assign value in material culture. Showcasing different iterations of collecting, I analyse the motivations behind the act of collecting, as well as the act of viewing these collections and what they say about our relationship with material culture. I will also reflect on how the human experience and need for curiosity has been an integral motivator underpinning why we collect. The inclusion of a variety of material culture artefacts also helps validate and highlight alternative curatorial methods within exhibition contexts.

↘ simone.england@outlook.com ↘ @simone.england

THE GLASGOW SCHOOL OF ART

Sophie Ammann Process driven Designer. My main interests lie in analogue processes such as print, bookbinding and sign painting, with a focus on typography and lettering. Humour is an integral part of my work. Some of my recent work has been finding and digitally preserving letterings from ghost signs around Glasgow and re-introducing them into a new context. If I could be any letter of the alphabet, I would be an S. ↘ Contextual Stickers and the Public Space Discourse. This essay examines the role stickers have in the discourse of public urban space. I define a sub-category of stickers which I term ‘contextual stickers’. Focusing on the placement of stickers, I look at why they seem to proliferate in certain areas with examples from a case study I conducted around the Basel Riverport and a case study conducted in Birmingham. My research methods examine the works of sticker artists and focus on why and where the stickers are placed. I talk about the integrative function of contextual stickers reclaiming space through intervention. From analysing the case studies and the interviews, I conclude that contextual stickers reflect people’s insistence on being included in the discourse of public space as an alternative or complementary discourse. EE

↘ sophieammann.com ↘ sophie-ammann@hotmail.com ↘ @sophieammanndesign

Tintin Lindkvist-Nielsen With colours and characters, I like to create worlds that look like ours whilst also being different. A lot of my work is connected to feelings and mental health. In my children’s book, ‘Lollipop Tuesday’, the main character deals with feelings such as not feeling good enough. The book concludes with the protagonist realising that it is okay to ask for help and to remember to be kind to yourself. I work cross-disciplinary within the field of visual communication and storytelling. I spend my time creating short animations, bright gouache paintings, inky and loose drawings in blue, and sets and props for stop motion films. ↘ The importance of queer representations in narratives. This essay discusses the importance of having LGBTQ+ representation in media. It focuses on popular entertainment created by Hollywood studios. I also look at queer writers’ thoughts on the topic. I compare different children’s television shows and analyse how they have handled LGBTQ+ themes differently. In the conclusion I draw connections from what I have discussed in the two chapters and debate the importance of having accurate representations of marginalised groups, while at the same time acknowledge the complexity of the topic. The conclusion provides examples how we can move forward to a more inclusive media environment. EE

↘ tintinart95@gmail.com ↘ @tintinart

BA (HONS) COMMUNICATION DESIGN

Vivienne Logan I am a multi-disciplinary designer currently based in Edinburgh. Coming from an industry-focused course in Perth, Western Australia, GSA has allowed me to explore more conceptual ways of thinking, and how to apply this to my work. I have developed a passion for layout design and typography throughout the course and have also developed my skills in typesetting. This has encouraged me to be more dynamic and bold in my approach to design. ↘ To what extent are contemporary editing filters online negatively impacting individuals’ identity? This essay discusses the extent to which the use of editing and filters in imagery in the media and on social media platforms is negatively impacting individuals’ senses of identity. Chapter one explores past uses of photographic editing and techniques and compares these to popular contemporary techniques or filters. Chapter two looks further into the effects of image editing in the beauty and advertising industries. Finally, chapter three explores the wider effects these filters are having on individuals’ mental health and wellbeing. The conclusion reflects upon the suggestion that the use of editing and filters is having a negative effect on individuals’ identity. EE

↘ @dsgn.vee

Yu Liu I am an illustrator interested in printmaking and children’s picturebooks. Non-fiction books and interactive books are my favourite genres. I like observing the surroundings and most of my works are based on life sketching around the city. I also enjoy experimenting visuals through various methods, especially in exploring subtle and lyrical images using collagraph. I am currently working on a picturebook about time and I would like to continue to develop touching and playful picturebooks in the future. ↘ Play with Picturebooks: how the materiality of picture books interacts with children. This essay explores how the materiality of picture books acts as a narrative language and interacts with children in multiple ways. Drawing on theoretical studies and investigating various interactive books, it considers the interactivity and narrativity of materials used in picture books. It is divided into four themes: sound, feeling, space, and the reader as a creator. The first chapter investigates how materiality brings in auditory experiences by studying ‘The Speaking Picture Book’ by Theodore Brand, ‘Jungle’ by Maurice Pledger, and ‘Dear Zoo Noisy Book’ by Rod Campbell. In the second chapter, I focus on how materiality stimulates and enriches cognitive feelings and generates abstract concepts by studying ‘Who’s There?: Open the Door’ by Bruno Munari and ‘What Color is the Wind’ by Anne Herbauts. Chapter three builds an understanding of how materiality creates spatial interactions by analysing ‘Maison de Poupée’ by Dambuyant & Guignard, ‘Little Tree’ by Katsumi Komagata and ‘Midi Pile’ by Rébecca Dautremer. Chapter four focuses on how the picture book lets children become co-creators, looking at ‘The Paignion’ by F.C. Westley and ‘Little Mouse’s Big Book of Fears’ by Emily Gravett. Thereafter, I discuss how the materiality in picture books impacts children’s reading and development. EE

↘ lyufzm@gmail.com ↘ @yudedoodle

THE GLASGOW SCHOOL OF ART

Zoi Kravvariti My practice draws inspiration from examining the complex physical and emotional behaviours of people, including myself. Memory and the female body appear in many of my projects as continuing themes, and are used as means of communication alongside with movement, in a never-ending exploration of the intricate state of being a woman. My choice of media varies, depending on the project I take upon, aiming to explore different ways I can communicate ideas. By exposing and expressing myself in my work, i intend to provoke feelings which people suppress. ↘ Raging Bodies, Silent Women. Chapter I ‘on women’ examines the roots of the assumed feminine nature. It begins by analysing how dichotomies tend to be hierarchical, and always consist of positive and negative poles. I focus on the gender binary, and how it has historically viewed and represented woman as the ‘other’, considering the dichotomy of good and bad woman. I move on to looking into stereotypes and counter-stereotypes and the ways their influences have set the standards of good/bad womanhood. I then expand on how the idealisation of the ‘good’ woman based on these standards has been the foundation for shaping her denigrated version. I compare two contrasting figures of religion and myth that have been seen as sacred and monstrous. I analyse how anger in women has been pathologised in order to be seen as ‘un-natural’ and I show how women’s anger threatens the patriarchal system through two subchapters entitled ‘Hystero’ and ‘Madness - the disguised power’. EE

↘ zoe.kravv@gmail.com ↘ @kravv_

BA (HONS) COMMUNICATION DESIGN

Cover image: Shannon Best Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.