GRAPHIC COMMUN- ICATION DESIGN 2020 Art Directed & Designed by CENTRAL SAINT MARTINS Abbie Lilley, Lili Phillips, Olivia Alexander & Ruth Pickering Realised by GCD Class of 2020 Published by Nearly

gcd2020.nearlyapublishinghouse.comMedium Name of person Welcome Visit the accompanying website here: gcd2020.nearlyapublishinghouse.com

INTRODUCTION

Re-Imagining the Future Landscape of Graphic Design

With the loss of our studio as a base for our community, the Graphic Communication Design (GCD) class of 2020 have been resilient and responsive to the current climate. We have laughed, cried and wobbled our way to each produce a body of work that is reflective of the times and of our individual identities as designers. Utilising these new and unexpected restrictions, we, as a GCD community, have continued to push the parameters of what design is and is seen to be. We design outside the lines.

The website is a non-hierarchical curation of our collective practices—each time the page is refreshed, new and unexpected connections form. Digital footprints archive where the viewer has navigated the site, mirroring the journey through a traditional exhibition space. This online archive allows for a deeper inquest into the conceptual rigour behind our outcomes, offering two perspectives of exploration.

The supporting publication offers an alternative preservation of the work; a graduate catalogue for the class of 2020. Though this currently exists in a digital environment, we are asking for individuals to activate their showcase. Download, print, and pin up your spreads, for our exhibition is no longer limited to the walls of Central Saint Martins.

Our student-led publication and website has been orchestrated by Nearly and realised by the GCD community. Abbie Lilley and Lili Phillips would like to personally thank the GCD contributors and the extremely generous team who made this project possible: Amanda Gayle and Jann Choy, who built the beautiful website. And to Olivia Alexander and Ruth Pickering, for your patience, working with us on the publication and brand identity.

And of course, a special thanks to Kira Salter, for always believing in us.

Here’s to our future! Moving Image Showcase Poster by Katie Hackett

Virtual Screening

28th July 6:30pm

An online event*, showcasing a variety of the GCD 2020 Graduates film work—exploring a range of themes and ideas—fr­ om the human condition to experimental digital technologies.

*Available to watch via the UAL showcase for 2 weeks after the live stream. Medium Name of person Mabel Xiaotong Chen Info FurnitureProject Title:

Mabel Xiaotong xtongchen.cargo.site

My graduate project is a continuous to the design, rather than the designer. investigation into tangible information design. During the process, user participatory is In modern data systems, I have observed essential, as their inputs shape the design how data visualisation has evolved into a while increasing its reliability. The designer tool for pushing one party’s agenda. As a creates a platform and a framework to designer, I would like to challenge this power facilitate people’s voices to truly represent embedded in the systems, and involve the data. My exploration into different facets of [email protected] [email protected] public in the design process to democratise information includes spatial data, emotional data and evoke honest representations. data and data from objects. Furthermore, In this digital age, data is seen as cold, my tangible information representations boring, merely 0 and 1s. Contrastingly, express the complexity of data. Using and Chen the world where data stems from is so layering three-dimensional structures shows beautifully diverse; bursting with vibrancy the relationships between my data subjects,

and life. To challenge this preconception such as space, humans and objects. and give warmth to data, I create tangible Mapping data into tangible representation representations of information. I utilise helps us to truly experience information from physical experiences and human touches to a brand new viewpoint. Data informs design, communicate data. In my work, data leads and design enhances our reflection of life. Contact Details: Title:Project Info Furniture Mabel Xiaotong Chen Full https://vimeo.com/432789006/description films available here:

Mabel ht tps://vimeo.com/432842254 Xiaotong

ChenGCD 2020 EXHIBITION ~ Mabel Xiaotong Chen ~ Info Furniture Ruth Pickering Pillars of Gold Project Title: 07751164666

Ruth

‘With no audience does your work exist?’, transactional/interactive communication ergo, ’With no audience, can value be through the keyboard as a tool for communi- conceived?’ cation and production. The keyboard is one Pillars of gold is an audio-visual narrative of the fundamental methods for creating and uthpickeringgcd.myportfolio.com uthpickeringgcd.myportfolio.com r journeying from personal to intrinsic value. disseminating the written word. A versatile Through the use of exaggerated visuals and tool, it is used to express language in a vari- materialistic qualities, a grandeur is project- ety of both analogue and digital formats. The ed to the viewer, engaging their attention. current need for a connectedness through The visuals are paired with complimentary conversation is extremely valued. Written audio pieces from both found footage and communication is one of the cornerstones interviews consisting of personal stories. of society and since the introduction of

The adverts talk of gold as a commodity, the computer and digital technology, has where as a precious gold object, such become increasingly easy, accessible and as a ring, often holds a higher personal fast to communicate with anyone, anywhere.

@gmail.com value, countering its monetary value. Guy At the core of my creative and theoretical Debord critiqued society, burnishing it with practice is the ‘active audience theory’. a ‘commodity fetishism’. This contention This follows a continuous theme within my between personal and monetary value drove work, considering how the work I create keringsruth my final outcome. will be interpreted and actively engaged by pic “The making of gold into an heirloom the audience. Communication and dialogue was a way of trying to preserve that form between audience and creator are funda- into the future, an attempt to protect it from mental to the creative process and output of being converted into an amorphous lump of a designer. Pickering bullion.” Helen Clifford. The Digital infant typeface symbolised A Gold ring is a very symbolic piece a ‘giving back’ and an appreciation to my

of jewellery and there are many reasons audience who have been a central role why they are worn, kept and gifted. All within my creative practice throughout the collectively understood to have value, both three years of study and continuing to be a sentimental and monetary. key proponent in my future work. My finalising brief aimed to explore

Contact Details: Title:Project Digital infant Typeface Ruth Pickering Full https://vimeo.com/426899324 available video here: Ruth Picke-

ringGCD 2020 EXHIBITION ~ Ruth Pickering ~ Pillars of Gold Lili Phillips Books About Books Project Title:

07766884418 Lili

.com liliphillips

I am an attentive book creator, tactile ex- Books About Books is a series of experi- plorer and graphic designer, whose work is mental publications designed in response bound by a critical awareness of content. I to my interviews with Billie Temple, Coralie make books that beg to be shared; books Bickford-Smith, Genevieve Lapp and Rahel that enable the reader to develop a slower, Zoller. Their words filled with confidence,

more meaningful, sensory sensation with the challenged my creative position as a design- written word. My body of work both demon- er, and allowed me to answer my disserta- strates and challenges this, investigating tion question intelligently. acts of publishing in the age of digitisation. Though all unique in form, each deliv- Through engaging in tempered struc- ery of content reminds us of the vital role tures and experimental artists’ books, we of the reader. For example, influenced by learn that the form of the book can be used the term ‘dog-earing’, Rahel’s book entirely [email protected] for more than its conventional purpose relies upon user activation. The text is only of clarifying and reinforcing the author’s fully legible and intelligible when its pages words. I believe we must view the book as are folded. an environment for boundless creativity and Books About Books are intended as a Phillips exchange, for it is only then, we are able to point of entry to a deeper conversation. If organically, mechanically and harmoniously my works broaden engagement with the

orchestrate its pages. physical book—whether that’s through han- In my search for publishing knowledge, I dling, reading, folding, or defacing—I mark it conducted a series of conversations with a a success. diverse group of females, each having their To find out more, or to simply chat about own specialism concerned with bookmaking. books: liliphillips.com & @liliphillipsgraphics. Contact Details: Title:Project Books Books About Lili Phillips Lili

PhillipsGCD 2020 EXHIBITION ~ Lili Phillips ~ Books About Books Abbie Lilley YouProject Title: Were Here

Abbie abbielilley.com

Print & Typography lover, I balance the use etiquette when entering a curated room. I of systematics with aesthetics to produce decided to challenge how this experience meaningful and carefully considered design. could be translated into the static printed My practice is always responsive in na- page, transforming the often mundane ture- whether that’s to a specific audience, ephemera associated with exhibitions. concept, or the current climate. I’m contin- The book was based upon the recent- uously looking for new approaches to learn ly-opened yet short-lived exhibition, Andy [email protected] [email protected] and adapt my skillset further, often doing so Warhol at the Tate Modern. I challenged through collaborative projects. how an artist’s book could be responsive You Were Here is a responsive, critical in nature to not only the work, but how we publication. Through generating a volume of behave in a gallery space. Each spread is Lilley observations, formed in different locations completely different to the next, with the and responding to human behaviours- I framing of the page remaining consistent

found myself infatuated with how we, as throughout. The book uses design tools individuals, interact with art. Having had the such as typography, colour application and privilege to have been immersed in gallery even illustration to reflect the playful nature spaces since a young age, I have always of the work, resulting in an experimental been transfixed with the shift in social approach to exhibition books. Contact Details: Here Were Title:Project You Abbie Lilley Abbie

LilleyGCD 2020 EXHIBITION ~ Abbie Lilley ~ You Were Here Minrong Chen x Cynthia Meng Subcontainer Project Title:

Minrong Chen ongisuserdragon.farm/ mengcynthia.com/ ongisuserdragon.farm/ minr

x

We imagined that the future development on substance ... personal identity consists: of technology has the potential in helping not in the identity of substance, but, as I to solve pandemic situations, similar to the have said, in the identity of consciousness” Cynthia Meng one we are facing currently; by separating ---- John Locke. Our narrative was developed

[email protected] [email protected] [email protected] our minds away from our physical body from this concept. We hope the viewers

(especially when it is de-functioned). This could enjoy the visuals, while think about future possibility challenges our way of living how will you choose between your physical and our understandings of the relationship body and entering a virtual space with your between body, consciousness, and identity. conscious mind? “Self depends on consciousness, not Contact Details: Title:Project Subcontainer Minrong Chen x Cynthia Meng Full film available here: https://www.youtube.com/watch?v=p2pdx87QGB0&feature=youtu.be

Full film available here: https://vimeo.com/436575028 GCD 2020 EXHIBITION Chen X Cynthia ~ Minrong ~ Subcontainer Meng Chen Meng Cynthia Minrong Minrong Olivia Alexander Uncertain Time Project Title:

07487782770 Olivia oliviaalexander.cargo.site

Like many other students, the pandemic the passing of a single day, only to then derailed my original final project plans, reveal at the end that the images were but with it came an opportunity to fulfil a taken over the span of four months. The full responsibility I felt as a designer to respond book is 44 pages long with 39 images in a to the situation and utilise my skills for good. concertina format. Creating this work this During isolation I responded to the pandem- was a quiet activity that let me reflect on and ic with my work that explored the theme communicate my feelings of melancholy as of uncertainty. Each piece of work had a visual outlet, as an alternative expression [email protected] the intention of documenting the collective of emotion that didn’t require the words I experience of this time for the future, and to wasn’t able to form or express yet. facilitate reflection for understanding. Then sometimes you find that particular

My response ‘uncertain time’ took the words come easier than others. Another Alexander form of a book of photographs, documenting response entitled ‘Bollocks’ was an expres- my time in isolation by capturing the light sion of my frustration at the situation, which I

revolving around my home each day. The found was a common feeling at the time after photographs convey the slow change and sharing the work on social media. Displayed constant of everyday as I lost all perception in an exhibition held in the prestigious of time. Expressed through ordering my location of my bedroom, only to be viewed images from daylight to sunset indicating by me, during isolation.

Contact Details: Title:Project Uncertain Time Olivia Alexander Olivia Alexa-

nderGCD 2020 EXHIBITION ~ Olivia Alexander ~ Uncertain Time Olivia Moss Tapi Patterns Project Title:

Olivia As a graphic designer, I am constantly find- environmental data stories to life physically ing ways to transform the invisible to visible but from home. Weaving, a traditional in regards to data. I believe that narratives craft that is still being used today brought are being created by us and around us at the elements of tacitly and tangibly to my

an ever constant pace, whether we realise designs to emphasise my thoughts towards it or not information is being created, sorted learning and understanding data through and analysed through different means and physical experiences. I was able to hand forms. These thoughts led me to how our make a wooden loom from local resources

oliviajmoss.com environments offer us opportunities to to experiment this technique. This showed collect, analyse and reflect on to learn from. the unconventional way of visualising I intended to bring awareness to how as a information, bringing it to life, through the society and human beings that live in ever textures, slight wonky lines and the small changing settings we are offered to witness man made mistakes throughout, enhancing a narratives that form as we navigate spaces. human element to otherwise quite cold and I have found that in this era of modernity the unapproachable results.

term data can be cold and unapproachable, I felt that the process of learning this new therefore I find the importance in changing skill and traditional technique was a journey these perspectives in visuals to offer an in itself. From learning about yarn qualities, alternate approach to this meaning. methods of the craft and how to construct The three data tapestries created are the frame for the loom was a new terrain almost ‘environmental barcodes’ of each for me but brought to life the slow aspect of journey from the contrasting locations, a reflecting and collecting the data through unique pattern associated with a journey creating it. I interpreted this as almost a [email protected] of data in a certain amount of time and sensory and multi-layered map through space. They each tell the narratives of the weaving the patterns of data collected. By data which are shown through the colour using these tapestries as a physical map

and size of the shapes, which I have called and a visual journey of information that Moss ‘Tapi-Patterns.’ By using low cost Arduino would otherwise have been unknown to the data sensors, light, movement, temperature human eye, transforming invisible data into

and microphone data were collected 16 the visible. To understand our surroundings times along each transect of location. better we need to gather, describe and Due to the impact of not being able to use record data to analyse it with the main the design studios I looked into methods focus on transforming it into knowledge for in which I could create and bring these recognition.

Contact Details: Title:Project Tapi Patterns Olivia Moss Olivia

MossGCD 2020 EXHIBITION ~ Olivia Moss ~ Tapi Patterns Maya Kubota Biographies of Objects Project Title:

ya.kubota Maya @ma

I have an obsession with collecting miscella- manifesto can encourage and guide the neous tangibles. In my collection, tangibles audience to collect lost objects. I believe

refer to materials that do not have digital that by sharing the object digitally, it would intelligent elements. Animism and reincarna- help to find the owner. tion are spiritual beliefs exist in my culture Memorabilia is supposed to be my second which influences my process and concept of project. This is about celebrating senti-

ya-kubota.com/ my work. Biographies of Objects is an online mental objects and the narrative through

ma platform encouraging audiences to interact photography. Due to Covid-19, I start a and contextualize objects. I create three podcast, Show & Tell interviewing people to ways to contextualize existing material. The tell a story behind their sentimental pieces. first one, Represent, is a way to categorize Each object represents different aspects of and show the object in non-monetary value the speakers. Some of the stories are about and non-functional approach. The second relationship, childhood memory and culture. method, Retell is where the story and the The podcast can be found on the website meaning of the object told by the owner. under Listen page.

Lastly, Repurpose is a method to discover, Collecting existing materials allows me to record and give a new meaning to aban- explore new themes and experiment with doned objects. various media and technique. I believe that Throwing away materials are considered it is almost impossible to create something as guilty to me. Therefore, I tend to completely new from scratch, therefore I repurpose existing physical materials. Lost use whatever materials I found around me & Found is a digital archive of lost objects and renew or reemphasize it. Embracing the [email protected] [email protected] that I collected around London. Audiences process, creating and breaking a system is can create their own archive on the website my approach to keep making and designing under Create page. This is giving a new various outcomes. meaning to the lost objects. Participants can Kubota also collect and share lost objects on Share page. This is a new system to store the

objects. The system by Transport for London is a failed system since less than 25% of the objects are collected in 2019. These objects are eventually sent off to an auction or thrown away after the ‘expiry date’. The Contact Details: & Tell Title:Project Show Maya Kubota Maya

KubotaGCD 2020 EXHIBITION ~ Maya Kubota ~ Biographies of Objects Rui Li I & MyselvesProject Title:

@veraandlr Rui

This is the second part of my “I & Myselves” To express entanglements, mental

veraruili.com/ project. I am exploring further on the suffering, internal dialogues and transform bondage and knots of human emotion, them into images, sounds and movements. exploring questions that purpose every day I created a circle/knot which can be looped on my mind. Why are we feel so guilty when as the knots and problems will never be we are not trying our best? Why am I so solved until we will never struggle in making strict with my behaviour daily basis? Why decisions. The circle includes: Birth -

do I feel pain and suffering when I can not Divarication - Control - Imprison- Struggle make a decision? ...After a lot of research - Broken - Rebirth. In this case, the rebirth

and self-reflection, I regard those negative can be regarded as birth at the beginning emotion came from the collision of opposite and the circle start again and again. desires (conscious desires and instinctive The art direction was inspired by stage desires). Conscious desires include desires and performance art in theatres and films. of success and achievements of personal The high contrast of shadow and light for value. They usually require a longer waiting building richer atmosphere and emotions, time of receiving a mental reward, which get rid of the excessive decorations around, [email protected] affects the decrease in satisfaction/pleasure let my audience body and mind immersed in and causes some mental suffering. The the performance of the actors. The reason I instinctive desires include sensual desires think those factors fit my video is that these like sex, food, alcohol and entertainments, spotlights and shadows are very much like Li etc. The mental reward usually receives the ‘internal’ theatre, the ‘drama’ take place immediately. within my mind, hiding under my body, no

The tangling wars between the opposite one sees expect myself. What I am doing is desires usually due to the limited time of moving and visualising those internal actions human beings. One usually has to sacrifice to the actual screens. Which hopefully the other. It’s those kinds of human ‘knots’ triggers my audience self-reflection on how that drive us mad. they ‘see’ themselves. Contact Details: Title:Project I & Myselves Rui Li Full https://vimeo.com/433560604 film available here: Rui

LiGCD 2020 EXHIBITION ~ Rui Li ~ I & Myselves Ella Zeki Little Lessons Project Title:

Hi I am Ella! I am a graphic designer and to really struggle to re-enter society some positive thinker driven by making/ encour- experts say we might lose the handshake aging positive changes to our environment for a very long time. So, for now, let us send and our wellbeing. My practice is centred one digitally! around how play shapes our lives and can also facilitate learning. My design style and @ellazekidesigns aesthetics are all about repurposing and Ella reusing what we have around us to connect to a niftier way of thinking going forward. I believe graphic design has always been my method of play, it mirrors similar qualities

that playtime has. There is interaction, problem solving and creativity, I am always learning and discovering new things by experimenting. Most of all it brings me happiness and moments of silence. Through- Little Lessons (this project was a collab out this enquiry, I have primarily focused on between me and Alice Gough): In response

ellazeki.myportfolio.com/ the positive qualities that play has on our to schools being shut due to COVID-19, ability to learn new skills and information we designed a set of books to encourage at any age. This time around my work has parent’s to use the skills and knowledge intentionally been playful, I have a better un- they already possess. And create a fun derstanding of what that means for me and learning environment at home, to normalise my practice. And I hope by viewing my work learning from a home environment as well

that you can gain a better understanding of as a school one. Little Lessons are a set

it too. Play is simply allowing time in the day of activity books, these activities have to forget about everything else. And allowing been designed to feel like play, but have yourself to become consumed in something strong life-lesson like qualities. The child’s that makes you happy. Be open to finding publication possesses all the fun and play play among the everyday and trust me you they desire, and the parent’s publication will discover something you never knew will guide the parent on how to approach about yourself or even the world around you, the different activities and how to enhance it’s that easy! their learning qualities. And how to reflect on [email protected] [email protected] Helping hand typeface: Helping Hand is them with their child after. a typeface that visualises the physicalities of a conversation. The final typeface was heavily influenced by the lockdown situation, Zeki it reaffirmed just how important conversation is for our happiness and wellbeing. A

simple conversation could be the difference between someone having a good or bad day? This typeface’s purpose is to be a gentle reminder to check-in. Some say that after this pandemic is over we are going Contact Details: Title:Project Helping Hand Typeface Ella Zeki https://www.flipsnack.com/BAC5B599E8C/little-lessons-parent-s-book-d156jc1wb1.html Full books https://www.flipsnack.com/BAC5B599E8C/little-lessons-child-s-book.html available here: Ella

ZekiGCD 2020 EXHIBITION ~ Ella Zeki X Alice Gough ~ Little Lessons Samuel Todd 352 Project Title:

creating a physical algorithm where one page from every book was documented, creating an image based catalogue of the bookcase which took design inspiration from archives and collections. By creating a purely image based catalogue I’m inviting my parents to explore Samuel the books in a spontaneous and impartial method where genres and blurbs are hidden, inviting new books to be read at random and disrupting the flow of information. Debris: Encouraging destruction and controlled chaos for creative engagement. From 50 thousand people watching 352 is my response to the tsundoku gladiators fight wild animals in 264BC to bookcases, shelves and piles littered across hydraulic press videos on youtube raking homes worldwide, a place where books are up 270 million views, humans have always

www.sam-todd.co.uk/ left forgotten about, collecting dust. Through loved destruction. The satisfying feeling 352 I focused on my parents tsundoku book- of watching objects, buildings, fruit and case, a collection holding hidden literature anything else being destroyed is said to give and media gems spanning from genres such us feelings of power. Can this destruction be as art, history and space to religion, tarot used for creative engagement and does it and popular children literature. The collec- have the ability to change an objects value? tion which has been inherited, bought, found Through Debris- a participant donates and acquired consists of high brow academ- an object they perceive to be “worthless”,

ic publishers through to populist publishers in return they are given another partici- such as Penguin with dates ranging from pants “worthless” object with the task of early 1870s to 21st century. With each destroying it. Over the course of the project book comes a sense of appreciation; the I documented the donated objects building feel of the creased spines, the folded page up an archive collecting the object, use, corners and the thickness of the pages. The materials, size, weight, date and method of physicality shows the age and imperfections destruction. After destruction the destroyed [email protected] of the books along with personalised book objects debris is collected to be remade plates holding messages of past owners and into new objects. Each participant receives readers. Through 352 the aim was to disrupt their object back but in a new form with how one interacts with the collection whilst new uses. Do these new objects take on Todd archiving the contents at the same time. The the same worthless nature of the objects focus was to create a spontaneous method before? Do these objects in their new form

of communication between the reader and have new purposes? Does physical process the bookcase. This appreciation for the and hand made craft affect the value of material qualities set the foundations for an object and how do materials affect an how the documentation began. Looking into objects worth? common library sorting methods, I began Contact Details: Title:Project Debris Samuel Todd Samuel

ToddGCD 2020 EXHIBITION ~ Samuel Todd ~ 352, Debris Urja Gauri Jain A room with a view,Project Title: but no window...

Urja Gauri urjagaurijain.com/

Urja is a Visual Communication designer, gender, romantic love, desire and psycholo- born and brought up in India. As numerous gy through an exaggerated satirical lens. Her others, she grew up watching Bollywood design mediums include editorial design, films and absorbing toxic norms. Moving illustration, photography, content writing and into adulthood, through her work, she has filmmaking. [email protected] [email protected] explored the unlearning of these ridiculously This film is an exploration of the power perfect expectations of how a woman should imbalances in a heterosexual relationship, be within the Indian social system. Using it looks at the underestimation of power visual communication, as a young Indian that heterosexual males possess within it. It Jain woman, she has been able to navigate focuses on what happens when men gaslight through the dichotomy and find the balance women in relationships and the realisation

between appreciating her cultural roots but of being driven to craziness through the also not being afraid to call out bullshit. manipulation they experienced. It attempts to She views herself as a subversive designer bring to light nuance moments of psycholog- questioning the influences in Popular ical manipulation that have been normalised Culture. Her work looks at the nuances of internationally in mainstream media. Contact Details: but no window... Title:Project with a view, A room Urja Gauri Jain Full https://vimeo.com/437802777 film available here: Urja Gauri

JainGCD 2020GCD 2020EXHIBITION EXHIBITION ~ Urja ~Gauri Mabel Jain Xiaotong ~ A room Chen with ~a Infoview, Furniture but no window... Julian Lock The labour of my commodity Project Title:

also a link to the idea of authenticity as the viewers are able to see the authentic original process of my actions and exchange. My film is split into three sections of my labour. These sections are segmented into the types of value inserted into my @runamuckas commodity. The first part of my film portrays Julian the abstract labour of my commodity. The audience is shown my process of taking photographs, from loading film into my Marx’s idea of the commodity fetish is the camera to taking the photographs I intended notion of value in a commodity through its to show the passion I have in my medium of labour as well as exchange value through creating these photographs. This sense of the social interactions a commodity gives passion and commitment is not an essential through the physical exchange interaction. part of the process but shows my passion as My brief is a cinematic documentation of the an artist and designer. This is the abstract process & labour of my analog photography. value of my commodity. This part I have titled

Julianlock.studio Through the documentation of my process, ‘Passion’, this is in attempt to show my love as well as documentation of the initial and commitment to my labour. This labour is reactions to seeing my final results of this something that brings me joy which I hope in labour, I am expressing to the viewer the conveyed within the final outcome. concrete and abstract value within my work. The second part of my film shows my con- I am also communicating the intrinsic value crete labour and value. This is the labour of

associated in the exchange as the viewer of the process with is essential, without them, the film is able to witness the initial reactions a photograph cannot exist. The development

of the final results. The viewer of the film process of my film is shown as the viewer however, will never see the final results of my is able to see the skilled labour which is labour. This is my attempt at refusing to com- needed for these photographs to exist. I modify. I do not wish for my work to become have titled this part of my film ‘Process’. another commodity, circulating the digital The last part of my film is the exchange world just as many other photographs are, or intrinsic value. This is the presentation being stripped from their concrete, abstract of my photographs to their intended [email protected] and intrinsic value. Through using analog audience. The reaction is the exchange I photography as my practice in this project, intended for and to create emotion is the I am straying away from a digital world as reason for my labour. This final part is titled many commodities of designers and artists ‘Present’. I am presenting my labour to my Lock lose their value as it cannot be properly audience through its final tangibility, even if portrayed through a digital realm. audience at the time are not witnessing my

Just as the idea of data ownership, I am full production process, my abstract value claiming ownership through the presentation is able to be felt by the audience as well of my commodity to my chosen viewers, not as my commodity gaining value through its allowing it to be viewed, or exchanged with- exchange. out my knowledge or consent. This brief is Contact Details: Title:Project of my commodity The labour Julian Lock Full https://www.youtube.com/watch?v=yFZqqxpx4jA film available here: Julian

LockGCD 2020 EXHIBITION ~ Julian Lock ~ The labour of my commodity Georgia Pizzala Manners don’t cost a thing Project Title:

Georgia @__pizzala__

Behavioural mannerisms, actions, ideas, inspired me the most throughout this project pizzala-design.com/ thoughts, conscious/ subconscious, an was Photographer Carrie Mae Weems, she overall psychological theme. When applying investigated family relationships, cultural this to everyday life I noticed that the identity and class. She created a photo-

majority of my ideas ended up with a focus graphic series of a family around a dinner of how all of the above applied to Social table and what else happens besides eating.

status and Classism. From a young age I had the idea ingrained Initially I did want to stray away from previ- into me that no matter what your background ous ideas so that I didn’t refine myself into a is, if you held yourself with good manners small box using themes of precious projects. then anyone would respect you. I started looking at mirroring behaviours After research and experimenting I found and the psychology behind what causes myself on how manners can represent social up to copy other humans subconsciously. class. Noticing with different case studies [email protected] Richard Tuttle, Agnes Martin and Gillian of people from different classes all acted a Wearing were all fine artists who follow the different way on the dinner table depending same conceptual theme of breaking from on their upbringing. Not only this but Man- the norm of what other people follow and ners are different all around the world within Pizzala becoming your own critic. These artists different cultures. This Project is a statement. wanted to avoid social norms, this wasn’t the We’re misjudging people due to class and

actual idea for my project instead I wanted upbringing, having misconceptions because to figure out what it is that makes us follow of apparent wealth. Having a humorous but these formalities. My main focus from the also honest side due to pointing out obvious start was mannerisms, looking at manners, stereotypes that everyone could relate to in especially bad table manners. An artist who some way. Contact Details: Title:Project Manners don’t cost a thing Georgia Pizzala Georgia

PizzalaGCD 2020 EXHIBITION ~ Georgia Pizzala ~ Manners don’t cost a thing Jiaman Wang Dreamland Project Title:

Jiaman [email protected] [email protected]

I want to express a perception in this But in reality, we need to face the dilemma Wang video that people suffer a lot of stress from we escaped. Things that have not been done deadlines. Dreams only take one day to fulfill are still there, it will not disappear out of

their desire and accomplish what people thin air, and no one will do it for you. Only haven’t got. Although it is a beautiful dream, yourself. I want to warn people through the video for those who are afraid to make decisions but choose to escape from reality. Contact Details: Title:Project Dreamland Jiaman Wang Jiaman

Full https://www.youtube.com/watch?v=qyNg_zLlmz4&feature=youtu.be available video here: WangGCD 2020 EXHIBITION ~ Jiaman Wang ~ Dreamland Contact Details: [email protected] yukariono.com/ 07490164514 Yukari Ono Yukari

YourOno

The matter of craft of matter The Project Title: Project

Project Title: The matter of craft pandemic. The briefguides my The to audience pandemic. COVID-19 during state the emotional their to helppeoplerecognise anddocument world. outside to the limited access with quarantine when many found under themselves new wake meaning inthe pandemic, ofthe new.something rarely useour handsto learn andcreate we as rely and ontechnology forgotten, isoften benefitofcraft age,digital the and generate However, new ideas. intoday’s Ithelpstobrain clear thoughts development. for our are essential activities Hands-on Name workshopMy ’Express andcreate’ aims to took make ona andcraft ability The conclusions as they as myconclusions view work. my to own audience beableto to come their orpraise. subject it to Iwant criticism than rather as itis, the behaviour reflects that to complex present this relationship inaway andIfeltof mobiledevices itwas necessary our handsandmobiles. relationship between modern behaviour -the resources they have that at home. limited to ofthe explore possibilities the Italsoencourages my participants cutting. drawing,colouring, writing, i.e. activities, various crisisthrough during craft the complexexpress their feelings andvisualise The projectThe changed my prejudice initial anddocumented our I alsoobserved

GCD 2020 EXHIBITION ~ Mabel Xiaotong Chen ~ Info Furniture Yukari Ono Here Yukari

OnoGCD 2020 EXHIBITION ~ Yukari Ono ~ The Matter of Craft Jahnavi Inniss Representation Project Title:

Jahnavi sites.google.com/view/jahnavi-design/home

[email protected] [email protected] Black people have made significant contri- story’ which suggests that Black people butions to British society; however, these had only arrived in Britain after the Second contributions have been left unrecognised. World War in the 1950s during the Windrush Upon doing extensive research into the period. I also want to dismantle the idea that Inniss different ways to showcase Black British Black people in Britain during the 17th and history, I noticed frequent silent gaps in the 19th centuries were only of a subservient

timeline. I adapted the cultural technique status. Through my project I am evidencing of quilting to give visibility to the many the power and responsibility that designers unrecognised Black people that contributed have in creating work that influences to British society during the17th and 19th attitudes towards underrepresented groups centuries. I aim to dismantle the ‘single of people. Contact Details: Title:Project Representation Jahnavi Inniss Jahnavi

InnissGCD 2020 EXHIBITION ~ Jahnavi Inniss ~ Representation Isaac Bebbington Silk, Bricks & Cylinders Project Title:

Isaac 07762348549

.cargo.site/ .cargo.site/ iadb

Silk, Bricks & Cylinders comprises a series contributed to design & music events and of scenes recreating and reimagining stories exhibitions in both the U.K. and Japan. We experienced and recounted by my friends at push each other to grow and excel through

home in Leicester. The film takes these tales collaborations interweaving graphic, spatial of drug trafficking into a heightened hyper and product design, film, photography and stylized world. The focus of the project was music production. to collaborate with these friends through With a website in development, I designed moving images and shine a different light a bespoke typeface to be used across on criminal characters. We did this through Moncentral’s digital platforms and give the styling, art direction and cinematography. brand a visual identity. The typeface draws They are in a sense ‘day dreams of home’. on the classic Parisian type family Didot, [email protected] Before shooting was completed we went into combining elegance and modernity, reflect- lockdown during which time I moved to New ing the collective’s passion for beautiful York, where I stayed for the remaining three design and innovation. months of term. I followed this with a series of three Bebbington Whilst in New York, I found myself longing idents; moving image pieces which encap- for the collaborative community in which sulate the collective’s values and dedication

I have thrived. This led me to pivot my to forward thinking, emotive and democratic efforts to focus on producing work for the design. The videos are sequences of design collective I am part of, Moncentral. Moncentral members playing football in Founded in 2016, Moncentral has worked inner city locations. The footage was then on political activism projects, held and time remapped and coloured. Contact Details: Title:Project Moncentral Isaac Bebbington Full film available here: https://www.youtube.com/watch?v=p2pdx87QGB0&feature=youtu.be

Full film available here: https://www.youtube.com/watch?v=p2pdx87QGB0&feature=youtu.be GCD 2020 EXHIBITION ~ Silk, Bricks & Cylinders ~ Isaac Bebbington Isaac ngton Bebbi- Agata Gerasimovič Quarantchic Project Title:

Agata gatgeras gatgeras @a [email protected] [email protected]

My name is Agata and I am a multidisci- fashion consumption. I wanted to embrace plinary designer with a strong interest in the lack of access to facilities while creating fashion, science and climate activism. this publication and communicate how this Gerasimovič I’d like to share a project I did in lockdown makeshift approach that many had to adopt - a publication called QuarantChic. The during the pandemic could be implemented

project aims to capture the bizarre time after the crisis is over. The publication was of lockdowns through fashion and art. It produced with the ideas of authenticity and celebrates creativity in tough times but also sustainability in fashion at its core, rejecting encourages readers to use the term of the the notion of trends and focusing on slow pandemic to rethink their relationship with fashion, the makeshift approach and DIY. Contact Details: Title:Project Quarantchic Agata Gerasimovič Agata Geras- imovičGCD 2020 EXHIBITION ~ Agata Gerasimovič ~ Quarantchic Edie Kueh Murmurs & Murmurations Project Title:

Edie ediekueh.com/

I’m a London based visual communicator and purpose of the design. Not only who enjoys playing with data and systems. In conveying direct relevant information but my eyes anything can be gathered as data, sparking the viewers curiosity and adding be it sound, smell or movement. Within my layers of interest into the design solution. I practise I explore the rhythms and patterns gather, interpret, communicate and ultimately within this data, transformed into both ‘act on’ and make decisions based on the physical and digital techniques. With people meaning of this data always at the heart of my work, I enjoy People have always been at the heart of [email protected] observing their mundane, everyday actions. my practise, observing their interactions, My most recent works have evolved around behaviour and experiences. I have devel- music culture, everyday city sounds and oped techniques that explore how these WiFi data. interactions can be translated into visual Kueh I have developed my work to become formats. more reflective on and reactive to the con- The projects on show highlight the

stant streams of data in both our physical versatile and experimental forms within my and digital everyday lives. practise. As a designer I have pushed my ‘Everything gives out some type of data, creative boundaries, to ensure that my work whether it’s sound, smell or vibrations’. I is communicated in the most dynamic and collect data intertwined with the meaning effective visual format. Contact Details: Title:Project Murmurs & Murmurations Edie Kueh Full project https://murmursmurmurations.cargo.site available here: Edie

KuehGCD 2020 EXHIBITION ~ Edie Kueh ~ Murmurs & Murmurations Abbie Lilley x Lili Phillips WorkProject Title: in Type

Abbie Lilley nearlyapublishinghouse.com

x [email protected]

Work In Type is an experimental newspaper, to submit the mess with confidence; the designed and issued by Nearly: a new- explosive mind-maps, the faulty prototypes, ly-launched publishing house run by Abbie and unpublished gems. Lilley and Lili Phillips. I think we can all agree that right now, the To give you an overview, Nearly are news is filling us with nothing but anxiety. To currently managing a live online archive, escape the noise, Nearly have reimagined showcasing the works of third-year, BA the conventional newspaper format, storming [email protected] [email protected] Graphic Communication students at Central new territories for publishing, design and the Lili Phillips Saint Martins. Being a part of this commu- distribution of information. nity amid the current global circumstances, By utilising the papers unbound sheets,

means both Abbie and Lili understand the we have been able to deliver a large-scale pressures students are facing. Therefore, the typographical expression of our work. publishing platform, Nearly, was designed Welcome what may first appear as chaos; with a unique point of focus: a lack of reorder and flip the tabloid to play, to puzzle expectations. Students are warmly invited together, to wonder. Work in Type Title:Project Work Contact Details: Abbie Lilley x Lili Phillips Abbie Lilley Lili PhillipsGCD 2020 EXHIBITION ~ Abbie Lilley x Lili Phillips ~ Work in Type Marina Economidou I LoveProject Title: You Project

Found-footage in my work acts as the new phrase used in nearly every film, across base material that I break apart in order to every genre. But the way it is used varies rebuild into something new, while keeping dramatically from its actual meaning; be it the memory of the old. My process is sarcasm, anger, a goodbye, comic relief, etc. instinctive and intuitive. I find freedom in I set out to explore the dissonance between using existing materials, altering realities and how the phrase ‘I love you’ is used in cinema manipulating time-based media. and what it means to me personally. Marina I aim to raise questions through means of The compilation of ‘I love you’ scenes irony and humour, emotion, provocation, and taken out of context aims to exaggerate repurposing, within the practice of mov- and expose the often ridiculous use of that ing-image. I think of editing as a subversive moment — it is drained of its meaning; it is act, using subtext to challenge conceptions, no longer special; it loses its aura. I want provoke and trigger discussions. the viewer to reexamine the phrase, in all its The motivation behind my work is an inquiry, absurdity.

@marina.eco an exploration of persistent themes and A liminal space is usually empty, it can be ideas, questioning issues of power, control, referred to as a threshold or a transitional reality, knowledge and representation. space; giving the feeling of something being ‘BLINKERAMA!’, ‘Distance’, the ‘I Love You ‘off’. That feeling was the basis for this work.

Project’ and ‘intra’ highlight social behaviour Imagine a film that uses only moments that is part of our post-modern human between happenings, a space where you are journey; from being trapped in a rat-race, constantly waiting for something to happen through searching for answers in faraway and are kept in a constant state of antici- places, to looking for love in all the wrong pation. Many of the scenes used in ‘intra’ marinaeco.studio places and waiting endlessly and anxiously were sampled from comedies and dramas, for something that never comes – we are all not from horror films. It is the placement of set up for failure. these scenes — their new context, the pace, A fragmented, stop and go journey. the sound and the visual of liminality which ‘BLINKERAMA!’ developed from a simple created the impending feeling of eeriness question; can I create a work that can only and suspense that we usually experience be viewed by blinking? I propose that the while watching thrillers. The tension is a answer is YES! Synchronise your blinking result of the viewer’s own imagination and to the beat in order to view the film. Am I expectations, based on their experiences setting you up for failure? and memories. ‘BLINKERAMA!’ was made using found-foot- age; ‘La Grenouille’ (1908) and ‘Les Roses [email protected] Magiques’ (1906) by Segundo de Chomón. Economidou Visually stunning, these silent short films are hand-painted with fantastic colours that give

them a unique appearance and the sense of transient fantasy I was looking for. For thousands of years, mankind is des- perately searching for love, friendships and companionship. ‘I love you’ is a universal Contact Details: Title:Project Blinkerama! Marina Economidou Marina Econo- Full project https://www.iloveyouproject.marinaeco.studio available here: midouGCD 2020 EXHIBITION ~ Marina Economidou ~ I Love You Project Gianni Antonia GenerativeProject Title: baby blankets

Gianni @gyanniantonya

Generative Baby Blankets: Towards visual the encryptions are inspired by the ambigu-

encryption and augmented decyphering of ous symbols found within the robe in Gustav emotional content. “HOPE III” is an explor- Klimt’s “Hope II” and are generated to ative journey that reflects on the privacy of accurately translate characters from text to conversations and emotional computing. Or- highlight emotion with their specific colours. namented with visual encryptions of prayers The system has a rather complex structure and messages from pregnant women in their to create responsiveness for production and twenties, the baby blankets [series of 5], are to ensure a solid encryption, so only the [email protected] [email protected] meant to function as symbolic artifacts to child is able to decypher the message. invigorate a conversation between Mother The decyphering process is fully auto- and unborn child – to be decrypted by their mated with use of Augmented Reality, only offspring at a later age. displaying the original message when the Antonia Inspired by Gustav Klimt’s “Hope” and matching blanket is scanned. The concep- “Hope II” which depict expecting women tual “HopeAR” application focuses on new

desperately praying for their offspring, this possibilities within Augmented Reality when third chapter is meant to explore deeper collaborating with Artificial Intelligence to insight into the thoughts of soon-to-be enable access to unique experiences – in moms, facing parenting with expected future this case nostalgic moments towards the challenges. The visual elements used within growth of a new relationship . Contact Details: baby blankets Title:Project Generative Gianni Antonia Gianni

AntoniaGCD 2020 EXHIBITION ~ Gianni Antonia ~ Generative baby blankets Jessica Sanders Tipping points Project Title:

Jessica behance.net/jessandersportfolio

Addressing the the climate emergency to a of learning tools, being non-prescriptive and [email protected] [email protected] younger audience through ‘Sleeping Giants interactive. My use of illustration, animation & Weather Monsters’, I wanted to showcase and data visualisation is aimed at reposi- our planet’s destabilising network of living tioning my practice towards participatory Sanders systems by personifying these these areas projects. The ‘Kaleidocycle’ template can of ecological crisis. My world map functions similarly be reconstructed to a physical as an interactive worksheet that can be object. It represents the varying scales of

transformed into a foldable 3D globe. In climate feedback loops from the micro to light of the pandemic, it can be alternatively macro; Traveling through plant and marine explored in the form of augmented reality as life structures to the gas exchange occurring you navigate through the Earth’s spheres. at the atmospheric level. I’m interested in the transformative nature Contact Details: Title:Project Tipping points Jessica Sanders Jessica

SandersGCD 2020 EXHIBITION ~ Jessica Sanders ~ Tipping point Francisca Lopes The Noise of Being Project Title:

Francisca

The common thread of my practice has PART 01: When everything changed the

franciscavaladaresmendes.cargo.site/ to do with notions of identity and how it is Noise of Being was born. This is an ode to explored, shaped and visualized. the people that have helped me to embrace Moving away from home for the first time my own image and an ode to their unique I found myself adrift on the currents of a projection into the world. vibrant city like London. I instantly became I wanted to hear & see them in a new way. fascinated by how it was formed by a pano- I decided to take the camera from my hands

ply of identities and forms of self-expression and put it in theirs. Sending each one of that I had never seen before. them a 35mm film roll and asking to explore

The camera became my most important and portray themselves in 24 frames. These tool. I used it to venture into places and are the people that made me feel like I scenes that I didn’t know. belong. To show this visual archive that I Photography and video are the mediums collected, I decided to create a website with through which I explored my new burgeoning everyone’s photographs. This film comes identity and how the people and community from a letter exchange that I did with my that I was surrounded with carried them- friends where ideas about not only belonging selves into the world. to a place but to ourselves are at the core of Throughout my whole life the sense of this visual narrative. my identity was built side by side with the Displacement is not a worthless mailto:[email protected] physical space that I inhabited and the experience. It instigates in us a desire to people that shaped them for me. empathize and connect with other people. I naturally turn my lens to things that are This process of seeking belonging is what raw and that challenge the status quo. I like provokes a self-discovery in us by cutting to Lopes to present very honest and intimate portraits the heart of what we value, who we are, and of my subjects and how I also grew with what we seek.

them and how our relationship evolved. Documenting different environments has My final year project (The Noise of Being) helped me to grow and expand the way that is split into two parts. the first one is a I not only represent what surrounds me but website and the second one is a video that also to become more comfortable in my own is still a work in process skin. Contact Details: Title:Project The Noise of Being Francisca Lopes FranciscaFull https://vimeo.com/424012921 available video here:

LopesGCD 2020 EXHIBITION ~ Francisca Lopes ~ The Noise of Being Ishwari Giga Home under fluorescentProject lights Title:

Ishwari

This project was a personal exploration of debt, for my life would not be the same. a community that I had grown up near. The The documentary that I have submitted, is a South Asian community in Southall and the small part of a wider conversation I plan to surrounding areas, in West London, allowed continue. Encapsulating parts of the history, ishwarigiga.co.uk/ for my family and me to integrate our culture the community and the intersectionality that into our daily lives. These communities allow currently lives in it as well as, the uncertainty the children of these communities to have a of the future that is to come. place to connect with our cultures. For many The name was born out of the photo- children of immigrants, these relationships graphs I took along the way with the tinge are complex and even for myself it has been of fluorescent lights. When I saw them it felt

a complicated journey of feeling both a part like the times my whole family would go to of and far away. Southall to shop. I could feel the intensity of Southall like many communities in London the colours, the music in the background, are facing the possible gentrification with the the back and forth of haggling, the vividness increase of development of luxury homes. of colours and smells and the urge of being Within the documentary, I explore the history a little kid that wants to go home. In the [email protected] [email protected] of immigration and the journey that led to lockdown, I missed the community and this community to become what it is today. worried about how it would affect them. What There is a part of me that feels as if I have would Southall look like after the pandemic? created a small archive. To try to understand For many small businesses, they have no Giga the intergenerational differences and what online platform and in-person experience is the future looks. Southall is a place that a big part of feeling connected outside of

allowed me to have my own connection with just buying things. In this want to be there, my culture as well as, to understand the I projected these images around my home parts within our community that are broken. placing myself in it, for a moment I felt more There’s a responsibility in representing connected to this community once more. these communities, I feel an enormous Contact Details: Title: lights Project under fluorescent Home Ishwari Giga Ishwari Full https://vimeo.com/431466070 available video here:

GigaGCD 2020 EXHIBITION ~ Ishwari Giga ~ Home under fluorescent lights Amanda Gayle Departure Project Title:

@am.gayle Amanda amandagayle.com/

Departure is a live video projection of a time themselves. With no explicit narrative, 7.8 metre roll of collage I had constructed Departure is only complete upon the [email protected] [email protected] from gathering almost a year’s worth of audience experiencing it. found material- from magazine cut-outs and Collecting plays a significant role in my newspaper headlines, to recycled prints. design practice, there is often an unplanned Inspired by the philosophy ‘Mono No Aware’ approach to my work which revolves around Gayle or the pathos of things, the film follows a reframing found content to challenge existing passage of time which aims to recreate ideas about the world. My work has always

the bittersweet sadness that comes with thrived off the excess and uncertainty that an awareness of the transience of life. The comes with collecting- I never know where subject of Departure is reflected in it’s it’s heading until I get there, but I start each means, the colours and existing stories that project by simply looking towards everything make up the fabric of this film are pieces of and anything around me. Contact Details: Title:Project Departure Amanda Gayle Amanda

GayleGCD 2020 EXHIBITION ~ Amanda Gayle ~ Departure Danaé Valterio I REMEMBER Project Title:

Danaé

I REMEMBER explores self-identity through the conversation about our memories. This the representation of memorabilia. It conversation was printed onto folded papers

valterio.studio focuses on people’s memories of their whose size is also proportional to how well personal objects. The aim is to achieve each memory is remembered. The text is self-representation through those objects hidden under the fold to show that memories and question whether the thematic of are intimately stored into people’s mind. The representation changes through time. printed conversation explains the meaning Through a series of objects’ photography, of each image, but it is up to the reader to

the project explores the relationship decide whether to interpret the image on its between art historian Laelia and myself. I own or to read the text.

Remember is presented in the form of an The reader, therefore, goes on a journey intimate publication which follows a private of opening each paper and dives into a conversation between the two protagonists person’s memory. Ultimately, the book about their memories of their objects shows that “people express themselves and includes images of their objects and through their possessions”(Miller, 2008, handmade prints. Our memories will differ prologue) and challenges standard forms because they are based on an individual’s of portraiture. The audience ranges from [email protected] [email protected] experiences and ideologies. mass-market to creatives in the design Twenty objects were selected because industry. They engage with the publication they represent specific moments shared be- in museums or independent bookstores. The tween Laelia and myself. Laelia’s memories publication is accompanied by two portraits Valterio are represented through film photography of Laelia. The portraits act as a reveal: the of her objects. My memories are repre- reader finally sees Laelia. Through film

sented through cyanotypes and tea-toned photography, I tried to create the most cyanotypes. In both chapters, the size of the authentic and accurate portrait of Laelia photographs and prints is proportional to using the environment and her objects to the amount and quality of our memories. The represent her. photographs and prints are accompanied by Contact Details: Title:Project I REMEMBER Danaé Valterio Danaé

ValterioGCD 2020 EXHIBITION ~ Danaé Valterio ~ I REMEMBER Indiya Tupe Of Ice and Tears Project Title:

Indiya As a visual communicator, my practice 450 metal steps necessary to experience investigates the potential of narratives within the glacier in real life. Implicitly, it becomes photography, typography, writing and edi- a serendipitous metaphor for elevation or

torial design. By promoting slower rhythms descent. of production and interaction, my work The second chapter intends to empower attempts to enhance our sensibility to the the land’s unheard voices and forgotten

environment, ultimately stimulating desires stories through intimate interactions between for richer, deeper experiences. By applying penetrative and nuanced depictions of the meticulous attention to detail and material, Sea of Ice’s character and evolution in I am stirred to create delicate, poetic and contrasting written forms and styles. Curated a-tupe.com meaningful interventions immersing viewers within a book, written narratives forming indiy into contemplative states of mind. poetic conversations, are an invitation to Of Ice and Tears is my final major project, listen with greater attention. Hard cover, initiated as an ode to the Sea of Ice’s gran- bound into french folds, the book of diosity, thought as a response to ecological 175x250mm compels viewers to slow down tragedy and experienced as a meditation on into an intimate experience, with utmost modesty between the retreating glacier and care. As a learning process, the written

ourselves. narratives within the book experience invite Divided into three chapters, it investigates us to develop empathy in the construction through printed matters, the potential of of a tighter relationship with the land. As a poetic visual and written re-narration strate- meditative exercise, the different voices and gies to stimulate deeper levels of ecological nuanced sensibilities invite us to participate awareness in relation to the iconic French in the glacier’s long layered story, ultimately [email protected] glacier. reviving this lost sense of belongingness. The first chapter intends to re-model idyllic The third chapter extends the book perceptions of the iconic glacier through experience into a more accessible, collective screen printed photographs. As a reflective learning experience of the glacier, adequate Tupe piece, this first chapter or ‘the Veils of the to the pandemic’s isolating measures. Sea of Ice’ opens a space to see beyond the Empowering online and offline spaces, I

grand spectacle and recognise fragility in decided to re-enchant a glossary for glacier the midst of a climate breakdown. Unfolding terminology. In the form of a typography-led in six prints of 610x910mm, flowing on poster campaign, revised poetic definitions Central St Martins’ concrete steps, this par- aim to sharpen the eye and change the ticular activation in situ evidently recalls the vision. Contact Details: Title:Project Of Ice and Tears Indiya Tupe Indiya

TupeGCD 2020 EXHIBITION ~ Indiya Tupe ~ Of Ice and Tears Hae Dn Kim Jungle Project Title:

Hae Dn had-not.com

Reconnect human and nature through the to the audience. The ultimate goal of immersive experience: Exploring the virtual, experiencing Jungle is to make the audience natural world ‘Jungle’, it aims to make the explore the actual nature outdoor. No matter audience rethink about the value of nature how much we try to recreate nature on the and how it has been changed along with digital screen, there is a limit of reproducing us. The 360-degree experimental video and the true, organic beauty of nature. While immersive sound I produced strengthen the working on this project, I realised these [email protected] emotional connection with the audience and unique characteristics of nature make it allows them to connect to nature in their own so precious and priceless today. Nature interpretation. has been overridden by human’s endless, Due to the pandemic, there was a limit of incontinent development and it’s replaced by Kim gathering people and materialise VR test but artificial, human-made nature. We should not I used it as a pivot to create the immersive devaluate nature as a decoration, entertain-

installation in my room with VR rendered ment or possessions for human beings. videos. Expanding the digital space in the Through this immersive experience, I hope physical environment helped me to under- the audience to be more conscious of our stand how moving images and immersive ecosystem, environment and behave more sound fill the space and emotionally connect eco-friendly in their daily life. Contact Details: Title:Project Jungle Hae Dun Kim HaeYour Dn Name Full videoavailable here: https://www.youtube.com/watch?v=0l-3Hsf4pHI HereKimGCD 2020 EXHIBITION ~ Hae Dn Kim ~ Jungle Amelia D H Tovey FolktaleProject for the Future Title:

Amelia D H

I like to describe myself as an environmen- community of readers, much like the climate talist first, and then an illustrator; it’s through crisis will take all-hands-on-deck to solve. this lens that I approach my design practice. As lockdown unfolded, I documented For my final university projects, I began my first-hand experience of environmental with the following questions in mind: Which change - within the context of a global stories will we be telling to future genera- pandemic - and how this uncertainty and etsy.com/uk/shop/ameliadhtovey tions? What will they say about us? In which ‘uprooting’ has taken affect. While it’s com- environment will they be when they hear mon in popular speculative fiction to explore these stories? environments in outer-space, my second Throughout my design-thinking, I drew project explores ‘inner-space’ - navigating upon folktales and folk arts from around my local and imagined environments during the globe, aiming to evoke strong emotions uncertain times, and under restrictions,

rooted in a sense of identity and empathy, watching environmental changes on a micro ultimately resulting in a passionate desire level. The book ends with a double-sided to enact change – bypassing ‘cognitive pull-out poster, allowing the reader to dissonance’ and ‘compassion fatigue’ that choose their ending. are often cited in conversations tackling the Myriad choices and chances have lead us climate crisis and humanitarian issues. down the road of mass extinctions, sea level ameliadhtovey.com ameliadhtovey.com Exploring environmentally conscious rise, increasing extreme weather, and now image-making, some of my illustrations took a global pandemic. As a society, we must the form of collagraph prints – textured accept that the old ‘normal’ was never sus- printing plates created from recycled tainable, and that this terrible circumstance Tovey materials. In others, I explored the medium is an opportunity to reassess how we want of tempera – a traditional method of creating to design the future. Will we try to resume

paints using egg yolk and natural pigments. what was before, or will we have adjusted to FOLKTALE FOR THE FUTURE, the first the slowed-down pace of lockdown and will of two illustrated books, was designed to be searching for alternative and sustainable be so large and so heavy that one person ways of doing and living. alone will struggle to read it. It requires a Contact Details: Title: for the Future Project Folktale Amelia D H Tovey Amelia

ToveyGCD 2020 EXHIBITION ~ Amelia D H Tovey ~ Folktale for the Future Clelia Anchisi HelvetiaProject Title:

Clelia hazymu.com

[email protected] [email protected]

“Helvetia” is a project celebrating and ex- quirky aspect Swiss authority & control ploring the meaning of 21st century Swiss through a typology showcasing the big Anchisi national identity through visual communica- brutalist blocks of cement known here as tion. In order to address various narratives a radar (speed camera). There are around

and themes relating to Swiss identity, the 150 in Geneva. Many have been vandalised Helvetia project consists of 6 projects. Each or painted carefully to match the location. project opening up a discussion of what This publication documents this & celebrates Swiss national identity represents. how these speed cameras coexist within the This is project 6, exploring the more spaces of my city. Contact Details: Title:Project Helvetia Clelia Anchisi Clelia

AnchisiGCD 2020 EXHIBITION ~ Clelia Anchisi ~ Helvetia Jingyin Luo I wantProject to go there Title:

Jingyin luojingyin.me

I am interested in speculative experimental consideration on imagery in the low-resolu- and multi-disciplinary design using a wide tion era. I produce informative, exploratory, range of media and contexts, especially in interactive and experimental works, where I digital direction. I am currently focused on welcome in receiving audience’s multi-lay- exploring and creating unconventional nar- ered reactions and responses; and looking [email protected] [email protected] ratives and environments, while challenging for bringing in freshness and mindfulness in ways of communication within the context of creative industry. exploring the relationship between present I want to go there: We are unconsciously and future, reality and hyperreality, as well collecting and influenced by images por- Luo as human being and machinery. trayed by others. We memorise the elements Being a visual communicator, and creative of images selectively. And when we draw,

thinker in the digital age, I am motivated to again, we are unconsciously exporting an create relational work in response to the portrayed version of memory...By looking current everyday moment, while speculat- at the concept of landmark, this collection ing a future vision. In my final stage of my of postcards demonstrates how human and BA life, I was looking at the viewpoints and machine perceives and memories. Contact Details: Title: to go there Project I want Jingyin Luo Jingyin

LuoGCD 2020 EXHIBITION ~ Jingyin Luo ~ I want to go there Ellen Powley The Covid-19Project Cookbook Title:

Ellen ellenpowley.myportfolio.com/work

[email protected] [email protected]

“The Covid-19 Cookbook: Digesting the Pan- the preparation and eating of their favourite demic”, takes the form of a recipe-journal, to foods as a coping mechanism. This enabled discuss the various ways that the pandem- an exploration into food’s ability to ground Powley ic has impacted our relationship with food. and comfort during times of crisis, as well Stemming from the project’s focus on com- as a discussion of the various topics of

fort food as a form of self-care, the publica- food surrounding the pandemic, including tion presented the opportunity to document food shortages, food waste, stockpiling and any thoughts and feelings surrounding the how food is affecting our relationships with current climate, using food as the conversa- others. tion starter, encouraging readers to appoint Contact Details: Title: CookbookProject The Covid-19 Ellen Powley Full videoavailable here: https://www.youtube.com/watch?time_continue=11&v=E3KfFBOfByk&feature=emb_title Ellen

PowleyGCD 2020 EXHIBITION ~ Ellen Powley ~ The Covid-19 Cookbook Bobbie Galvin The Bad & Ugly The Good, Project Title: 07775984503

Bobbie alvindesign.myportfolio.com alvindesign.myportfolio.com bobbieg

This project rebrands standard information It was imperative that each element of the provided during the outbreak of COVID-19. design would have a structure and system. People’s lives in the height of COVID-19 So that the brand could offer the audience were feeling extremely out of control. the ability to cultivate stability within their News/information was flying everywhere lives through the information The Good, The and people felt bombarded. This is where Bad and The Ugly provided. The system The Good (positive information) The Bad is separated into these elements: News (negative information) and The Ugly (false (Positive, Negative, False), Stats (Death-tole, information) steps in, It reestablishes control confirmed cases), Health (People at high- and structure into peoples lives, by giving risk and low-risk) and Hygiene (Good, bad them the power of choice to decide when or false materials, surfaces, and chemicals and what information they receive. to be aware of). Colours are used across cultures as Positioning this brand in a printed medium

[email protected] symbols for different entities. For this brand, was to move away from the saturated colour is used to evoke a spectrum of markets of digital media. It was clear from emotions associated with positive, negative audience research that people were

and false feelings. Colour in this environment becoming exhausted with the overwhelming Galvin is used to prepare the viewer unconsciously rush of media coverage on COVID-19, that

before opening up the information. The they would even avoid the news as the last

shape of the symbols for each section (+, resort to find some sort of control. Therefore -, x) was used to reflect that of a medical printed parcels would result in creating a pill. This is so that the person can prescribe feeling of stability through the act of the their own dosage of news/information about person physically holding the information in COVID-19. their hands. Contact Details: Title:Project The Good,Ugly The Bad & Bobbie Galvin Bobbie

GalvinGCD 2020 EXHIBITION ~ Bobbie Galvin ~ Helvetia Beatriz Gonçalves The Matriarch Project Title: 7874361238 0

Beatriz www.beatrizcgoncalves.com My work is often personal as I’m mostly the phone. Shot prominently in her house, in interested in the exploration of intimacy a secluded corner an hour outside of Porto through film and what results from the she goes about her daily chores, tending to connection between myself and my subject. chickens, gardening and preparing food. One of the most important things to me The project totally changed due to the is to be able to express the essence of my circumstances. I was ready to shoot my persona, as well as my perspective of the grandmother and her sisters back home world around us. As an aspiring filmmaker, when suddenly lockdown happened and I I am passionate about real people and was almost forced to make a film from home. real life stories. I am keen on expressing I ended up using the footage I shot a few emotions and feelings through film; I believe days before lockdown and recorded calls that it is increasingly important to make with my grandmother and make it all about work that is not superficial but to create her. It turned out very different than what I more meaningful work that has an impact on expected and I had to improvise a lot but the people and therefore causes a questioning challenge made me realise that my mental [email protected] of more profound problems and ideas. health was more important than any college My work has an experimental inclination project and I should not put too much and I am mostly interested in experimenting pressure on myself. I had a few breakdowns Gonçalves with analogue techniques and non linear and changed my idea a hundred times until narratives. I could make it work. The whole process In a time where the world has been hit by was harder than I expected and it definitely

a global pandemic, I capture my grandmoth- taught me that there is no point in stressing er’s fears and worries through phone calls out if things don’t go as planned - at some during the lockdown. Through the fear that point I just let it go and forced myself to came with this uncertain period of time, she accept whatever came out of it. remained lighthearted, loving and funny over Contact Details: Title:Project The Matriarch Beatriz Gonçalves BeatrizYour Full videoavailable here: https://vimeo.com/436732032 Name GonçalvesHereGCD 2020 EXHIBITION ~ Beatriz Gonçalves ~ The Matriarch Hope Horncastle Buyign FaceProject Title:

Hope hopehdesigns.cargo.site

[email protected] [email protected]

“BUYING FACE” is a project which explores explores this theme by merging supermarket the aesthetic of female identity; focusing shopping with cosmetic surgery. As today, Horncastle on the role cosmetic surgery plays in our with everything at our fingertips, shopping incessant desire to obtain beauty ideals for a new nose is just as ordinary as buying

often dictated by our obsession of celebrity, a loaf of bread. With this in mind, NIP & popular culture and social media. With cos- TUCKSHOP was created. An online store for metic surgery more accessible and attitudes cosmetic surgery where all procedures mim- towards it more blasé than ever, theres no ic that of an everyday essential. wonder it’s so sought after. “BUYING FACE” Contact Details: Title:Project Buying Face Hope Horncastle Hope

HorncastleGCD 2020 EXHIBITION ~ Hope Horncastle ~ Buying Face Sharine Chan ConverseProject Title: for Light

Sharine sharinechan.cargo.site

Sharine Chan, a graphic communication comfortable and safe to communicate. designer graduated from Central Saint Mar- Converse for light, a light installation [email protected] [email protected] tins. Her works encourage social interaction where the ambient lighting responds to the within public space, with the aim to strength- level of conversation between commuters: en and reconnect human relationship within the more conversation within the shared communities. She brings focus on the space, the warmer the colour of light will be. Chan audience participation and uses design to Sound is turned into a colour pixel which facilitate a social experience, bringing peo- then travels to the end of the installation,

ple together to converse and collaborate. creating a warmer colour which alternates Designs are inspired by play: the freedom to the colour of the light within the train. The deconstruct and reconstruct. I incorporated interactive element encourages audiences to elements of play within designs, to facilitates activate the space around them and lead to a social environment where audiences feel further conversation amongst passengers. Contact Details: for Light Title:Project Converse Sharine Chan SharineYour Name

ChanHereGCD 2020 EXHIBITION ~ Sharine Chan ~ Converse for Light Dun Lee Re-programmingProject Interfaces of Pre-existing Title: Circumstances

Re-programming Interfaces of Pre-existing The current situation regarding Covid-19, Circumstances breaks into 3 chapters in- under the quarantine has affected our work- spired by how OuLiPo situated their practice ing environment, we are not allowed to ac- within 3 stages, (1) Creation, (2) Re-creation, cess university’s facilities such as workshop (3) Recreation. or the library. So books, brochures, prints Each stage chases OuLiPo’s con- that I have in my room or the online refer- straint-based literary practice, pursuit of find- ences are the only accessible resources that Dun ing potentials, and Georges Perec’s specula- I can utilise for the time being. This circum- tion to interrogates unexpected currencies of stance itself is a constraint and yet a tool words by dismantling textual attributes and of creation. Re-programming Interfaces of reframing pre-existing situation. It re-iterates Expansion of Limited Resources excavates deconstruction and reconstruction to orien- resources from my archive box and weaves tate new situations out of the previous. together to create new aesthetic situation by re-creating what has become ‘infra-ordinary’ and been stuck in the box for years without being touched. The page is the starting spatial unit of Perec’s observation. Recreation is to explore situations going on the page and to have a Creation builds an orientation under re- play with the contents I have produced. It instagram.com/dingdongdanglee stricted and conditional environments, out of reframes concept of the editorial by demol- the exhaustive constellation of interests with ishing textual hierarchy and several modes a selective lens. Constraint might be seemed of text. to limit creativity or a way of thinking but its Audience can choose attribute of the con- explicit regularity becomes a rule, a tool of tent. They can see it as an image or read it creation. It turns out guiding how to think. as a contextual content, or both. They can Like following a compass in the middle of also decide where to start and where to end,

foggy ocean at night. the sequence of content. Series of Textual Re-creation deconstructs textual entity of Properties codes the dissertation in semiot- Creation, then reframe the circumstance of ic way to map out textual properties. And it Creation to discover unexpected currencies generates new images out of the properties. of words. It dismantles the text into the bits Throughout 3 stages of research, Crea- [email protected] and repurposes (poetic hyperlinking) them tion, Re-creation, and Recreation, I’ve found to see language’s depth and potential. that graphic design’s communication mech- Re-programming Interfaces of Pre-existing anism is a process of digging out potential Texts & Semantic Excavation cuts out words buried below the surface and the unexpect- Lee from the pre-written text, the dissertation, ed currencies can be new situations. Unlike to propose a three-dimensional approach scientific discovery, I’ve learned definition

to the content and to discover unexpected of new in graphic design field doesn’t come currencies of words or the potential of, by out of nothingness. It comes from numerous making text alive, build, moveable, functional, attempts to find potentials by repurposing transformable and transferable. pre-existing circumstances. Contact Details: Circumstances Title: Interfaces of Pre-existing Project Re-programming Dun Lee Dun

LeeGCD 2020 EXHIBITION ~ Dun Lee ~ Re-programming Interfaces of Pre-existing Circumstances Vanisha Nebhwani Colours of Life Project Title:

My practice as a designer is based on cre- of what they believe in and how they have ating connections with us as individuals and experienced the world with their own eyes, as a society, using illustration and animation if you might say, their eyes were windows as a medium. My audience helps me create into their souls, their minds. Showing how work in order to empower meaningful con- emotions and experiences can change the versations between each other and view how way they watch a world through colour, or people’s perceptions in life are different to how they would imagine the world through Vanisha others. My aims and intentions as a designer their dreams according to their experiences is to use my audience’s thought processes and desires in life. to bridge the gap between individuals and collectives, using my graphic skills to visually process these points of view. This project was based on the exploration of how perception of individuals and us as a collective see and experience the world We all perceive the world differently, around us. I did this by using two common and this is because many factors come subjects: colours and dreams that turned into place that influence this such as past

vanishavisuals.com out to be my two projects and pathways into experiences, emotions, senses, surround- finding an answer for one common question. ings and the way people have been brought How humans perceive the world and does up. We as a collective need to perceive the everyone see things the same or differently. world differently in order to coexist with one To what extent? This question frames my another, A different perception is not bad or entirety of my work during the past few good, it’s just the way you as an individual

months, delving into what is perception? and think, but what I learned is that we need to

how the mind works as a whole. communicate these more effectively. Using How individuals and communities perceive things such as colour or imagery to express the world? Using my audience to collect an emotion that can’t be described with only data to express these thoughts visually. words but rather visually, and seeing such We, as a race are all involved in the world amazing results of the diversity of our minds of perception. Without any interaction, is something so beautiful. In my opinion, emotion, senses, we wouldn’t have any when talking to everyone who has contribut- sort of perception as there wouldn’t be any ed to my projects, I realised that we need to [email protected] [email protected] experiences to base it from or a contrasting think outside of the box, or our heads and point of view. As an individual and as a try and understand one another to make community, we work and interact with each things more clear, or see them from another other through our ways of seeing, this is point of view. However it may be expressed, Nebhwani how connections between humans get which in my case was through my two stronger. When our perceptions are similar pathways, colours and dreams, which

or we connect with someone who views hopefully I will be able to investigate into this the world to a similar point of view than further and dive deeper. As individuals we the other. Using common experiences and see the world completely differently but as subjects, my audience created a connection a society we join together and understand between each other, sharing their perception each other’s perceptions on life. Contact Details: Title:Project of Life Colours Vanisha Nebhwani Vanisha

NebhwaniGCD 2020 EXHIBITION ~ Vanisha Nebhwani ~ Colours of Life Imogen Chandulal Unchain Project Title: 07446926276 Imogen gn.cargo.site iciedesi [email protected]

Chandulal One of my final major projects was a zine confidence and self worth. I particularly referencing punk subculture, aimed to focused 1970’s British punk throughout this

encourage self liberation and exploration project as I believe this subculture carries a among adolescents. Through highlighting the sense of raw liberation and rebellion that is opportunity for creativity, specifically through uniquely exciting, which I hoped to capture self-image, I aim to inspire adolescents to in my zine. explore their creative potential to evoke Contact Details: Title:Project Unchain Imogen Chandulal ImogenYour Name

ChandulalHereGCD 2020 EXHIBITION ~ Imogen Chandulal ~ Unchain Georgie Cornish HomogenyProject Title:

Georgie giecornish.co.uk geor [email protected] [email protected]

Hi I’m Georgie, my design work takes a typeface that took inspiration from placard journalistic viewpoint, often centring around lettering of the past 200 years. current socio-political issues. I approach I was also able to use the lockdown cir- Cornish this by separating my design process into 2 cumstance to create reactive responses. I methods, observational and reactive. designed a sustainable message of hope by

During my final year I focused on activism printing on leaves and placing them in out- and how protests could be conveyed more door environments. I also archived peoples humanistically. I did this through a portrait individual experiences through an interactive photography series from the 31st January, website design. the day the UK left the EU. I then created a Contact Details: Title:Project Homogeny Georgie Cornish Georgie

CornishGCD 2020 EXHIBITION ~ Georgie Cornish ~ Buying Face Katie Hackett Past ForwardProject Title:

Katie

atiehackett.work My work takes an experimental approach in the field with me. Due to the nature of the

k to image and video making, I’m usually pinhole camera I made, it used light sensi- inspired by the natural environment and tive paper instead of celluloid and so was finding personal connections to it. I love to only able to take one photo at a time before work with analogue techniques and build off changing the paper. Depending on the light physicality. This project is rooted in my own some exposures would last a couple of experiences and states of mind, it explores minutes, so I had to find ways of making the my relationship with the natural world that camera stay still. The final outcome for this I share a strong emotional attachment too. project is a photography book I have made,

This also links to the reasoning behind and will go on to print when possible. choosing analogue and alternative photogra- This book was made through exploring my phy as my method to portray this. Analogue relationship with nature but the outcome en- techniques contain a certain mystery, espe- courages the audience to self-reflect on their cially with my pinhole journey. Some of the own experiences and relationship with the outcomes are very abstract, which made me landscape. The two photography methods I look at the land in a different way, creating a produced visually different outcomes and so [email protected] different world to what we perceive. They are to make a cohesive final product, I decided slightly ethereal, like I was able to capture to overlay the pinhole and film images on top hidden aspects of the land through the light of each other. The long exposure pinhole spectrum revealing itself. images represent the passing of time in the Hackett I was heavily inspired by the Land artists landscape, the uncertainty and mystery movement of the 1970’s which informed of the past, whereas my film photography

my creative practice and encouraged me shows my current connection to the land to try out different things. After not having by being able to frame and view what I am the necessary equipment (due to lock- taking an image of… the final collection of down) to make a film I decided to make a images bring both these aspects together pinhole camera which I would aim take out forming a final outcome for Past Forward. Contact Details: Title:Project Past Forward Katie Hackett KatieYour Name

HackettHereGCD 2020 EXHIBITION ~ Katie Hackett ~ Past Forward Heather McNally and neoliberalism Myth of Meritocracy Project Title:

Heather 07449889968 [email protected]

Does anyone get what they deserve or is life middle – class family as you have got lucky a game of luck. This project is mocking ne- and have all the tools to support you in life oliberalist views comparing them to a game- such as cultural capital. McNally show. With a 70/80’s theme as this is when Neoliberalism increases income inequal- the term neoliberalism came about. ity by rewarding those who are already

Luck starts from birth, it’s no secret that wealthy, while providing fewer nets for poor- the family your born into is going to play a er populations to fall back on. All relating role in your success in life. Not having top back to the lottery of birth. grades doesn’t necessarily mean you’re going to fail if you have been born into a Contact Details: Title:Project Myth of Meritocracy and neoliberalism Heather McNally Heather

McNallyGCD 2020 EXHIBITION ~ Heather McNally ~ Myth of Meritocracy Giulia Romana Bertini Ephemera Project Title:

Giulia Romana

Hi, I’m Giulia Romana. I was born and grew inspiration for art students and creatives. up in Rome, Italy where I studied fine arts When I initially started to work on my final tini.cargo.site 07460022754 tini.cargo.site and developed skills in painting and sculp- project I was interested in investigating the ture. In 2016 I moved to London to attend a role of our hands in the modern time. My Foundation year in Art & Design and conse- concern was that our manuality could be giuliaber

quently the Graphic Communication Design replaced by technology, and my intention undergraduate course, both at UAL. was to demonstrate how important, as irre- I always encourage a multidisciplinary ap- placeable, our hands are. Then, unexpect-

proach to my work, where I tend to combine edly, with the coronavirus outbreak and the the physical and the digital with the appli- beginning of the pandemic, our hands have cation of different methods and techniques. taken on a new way to be seen and used.

The main focus of my practice is editorial Touch started to be deemed so critical that design and web design, but it also rang- we started to read everywhere things such es over a variety of creative fields such as as “wash your hands”, “don’t touch your illustration, photography, 3D modelling and face”, “wear gloves”, “social distancing”, and experimental design. I am in constant search so on. Hence, our hands became something for different perspectives of any objects, to be worried about, and physical human problems, solutions. touch, something everybody is missing. And, My final degree project is called “ephem- at the same time, digital technologies be- era”. Ephemera is a noun which derives from came to be perceived by most of the people [email protected] the Greek: epi means “on, for” and hemera worldwide by something vital, indispensable. means “day”. Ephemera are all the things In this way, a new light started to shape new that, when they were produced, were not perception of those antipodes of the “digital” intended to last a long time or were specially and the “manual”. Bertini produced for one occasion. My collection of works are the results of This project gathers together a collection those antipodes, a combination of digital and

of 41 creative works made every day for 43 analogical projects. During the entire pro- days in order to overcome a creative block cess the hands have been anyhow, the core experienced during the lockdown. of my inspiration. As a metaphor of creation, The works, showcased both in a website making, and realization. As the essence, and and a publication, have the purpose to offer the starting point, of any kind of production. Contact Details: Title:Project Ephemera Giulia Romana Bertini GiuliaYour RomanaName BertiniHereGCD 2020 EXHIBITION ~ Giulia Romana Bertini ~ Ephemera Mayesha Choudhury Desi Diaspora Project Title:

Mayesha 07931872261

As British Bangladeshi I always struggled Asian diaspora understanding internalised

to find my place. When I first came across experiences. We have a lot to say, enriched

the term diaspora, it fit the feeling of not with culture and experiences I’ve found sto- belonging to one culture but living between rytelling to be the most powerful tool to com- two. I finally felt part of community who felt municate our lived experiences and sharing the same way. The photography series “Desi these stories with the world making it a part Diaspora” from brief “Brit-ish” explores of history. identity through ownership of British Asian I am a Graphic Communication Design- diasporic fashion. It’s about having control er who explores the theme of culture and over how we present ourselves to the world. identity in my work. I approach issues that [email protected] [email protected] Our identities visually on our skin captured. affect ethnic minority communities that aren’t Represented. To feel seen and heard. addressed in mainstream culture and use Through this project my aim has been to my skills as a designer to create a platform share the lived experiences, narratives and where their voices and experiences of are Choudhury voices of people of colour and particularly elevated. My design skills include editorial women of colour as our stories often tend layout and design, photography, film making,

to get suppressed or lost in history. In doing typography, printmaking, illustration, writing this, others like me will be able get to dis- and publishing, exhibition curation. It’s inte- cover earlier that they are not alone in their gral to me that I am able to use my design experiences or that these experiences are skills to give back to the community and not abnormal. Essentially, to help the South create positive change. Contact Details: Title:Project Desi Diaspora Mayesha Choudhury Mayesha

ChoudhuryGCD 2020 EXHIBITION ~ Mayesha Choudhury ~ Desi Diaspora Molly Mayo IRL Project Title:

Molly ymayo.co.uk ymayo.co.uk moll

[email protected] [email protected]

‘IRL’ is an abbreviation for the phrase “In understanding, manifested in paper.

Real Life” is often used on the internet to At the heart of this exploration was a de- Mayo distinguish reality from the virtual world. sire to give some notion of permanence to Through a series of publications, I collect online data. The data is selected by humans,

and visualise my digital footprints taken from as opposed to an algorithm, meaning I have four of my most used social media profiles; extracted things that computers can’t gather. Facebook, Instagram, Snapchat, and Spotify. This narrates precisely how the data is not The Design decisions of each book are a re- just a part of the virtual world; but shapes flection of my profiles; my data is turned into my physical self too. Contact Details: Title:Project IRL Molly Mayo MollyYour Name MayoHereGCD 2020 EXHIBITION ~ Molly Mayo ~ IRL Rosie Stephenson Gestalt FormsProject Of The Anthropocene Title:

Hello, my name is Rosie! Within my prac- NOAA satellites, which record the global tice, I use emotive experiences to tackle the heat stress on reefs worldwide. Taking these disconnect of man and nature, in particular, far removed landscapes and placing them I have been trying to help communicate the within our own streets creates a confronta- man inflicted damage to reefs and forests tion with the fact that coral reefs are dying at habitats globally. The symptoms of the an alarming rate - with no sign of it stopping. climate crisis have come into even sharper I wanted to locate my intervention in a Rosie focus with Covid-19 which, in my eyes, is ev- mundane everyday location, providing an idence of man’s ever-increasing infringement opportunity for reflection. Bus stops, by their and invasion of the natural world. nature, are transient waiting spaces, with I believe that using design as an activism recurring users. I wanted to flip the narra- practice plays an important role in commu- tive from a functional everyday environment nicating the extreme threats we now face, to a subconscious experience, to bring the helping to engage humanity and spur pos- audience - some of whom are very discon- itive change. Scientific information can be nected from climate issues - much closer dry and overwhelming to the layman. I aim to the problem. The theory of “Information to tackle this by bridging the gap, to make Anxiety” by Richard S. Wurman’s expresses osiestephenson.com osiestephenson.com

r important scientific knowledge visually stim- a feeling of many people’s disconnect from, ulating and expressive. The book ‘Ecolog- and overload with, intellectual information. I

ical Ethics’ states that “all value, for us, is intend to bridge this gap to make important anthropic generated by human experience” scientific knowledge more visually stimu- This has helped inspire me to design sen- lating and accessible to wider audiences sory experiences to build human empathy and create a state of reflection in them. This

with threatened landscapes, and to forge is crucial to help foster a deeper connec- audience connection with environmental tion with nature; and a spiritual, physical, emergencies. and emotional understanding of the earth’s My Project proposal ‘Gestalt forms of ecosystem. My project aims to develop such the Anthropocene, Coral / Water’ uses the profound connections. everyday location of bus stops to commu- nicate the effects of climate change. I have used Gestalt psychology as the cognitive basis of my process, interpretation, and de- [email protected] [email protected] sign interventions to expose the destruction caused by individual actions cumulatively heating up the planet, leading to bleaching events which extinguish coral reef habitats Stephenson globally. The installation experience trans- lates this narrative for the layman, exposing

the hidden coral landscape as it undergoes its fatal transformation. I have used sensory mechanisms of light and print degradation over time, to express its decline and demise. The process is activated by live data from Contact Details: Title: Of The AnthropoceneProject Gestalt Forms Rosie Stephenson Rosie Steph-

ensonGCD 2020 EXHIBITION ~ Rosie Stephenson ~ Gestalt Forms Of The Anthropocene Mélanie Chappuis Deformation of Braille Project Title:

Mélanie lonaws.com 07597233862 lonaws.com me [email protected]

As a manifesto, I produced different defor- “Composition of the Planets” to represent mation of the descriptions in braille of the the relationship between planets forming the planets to reconsider how writing could be solar system. Chappuis more playful through an audio-haptic learn- This project aims to represent all the ing experience for the visually impaired. In sounds of the planets in creating an

my opinion, audio and a haptic practice bet- acoustic environment of the solar system for ter engage and educate people with visual the visually impaired. They would be able to impairment and could be more accessible construct a mental image and understand for everyone. the environment of the solar system with the I produced a piece of music called “Composition of the Planets”. Contact Details: Title:Project of Braille Deformation Mélanie Chappuis Mélanie

ChappuisGCD 2020 EXHIBITION ~ Mélanie Chappuis ~ Composition of the Planets James Duhan Losing FaithProject Title: 07491979931 James I’m a Filmmaker from London, recently within the Roman Church, looking into how focusing on Documentary film. During my this relationship exists in the present. During time at Central Saint Martins I have been the first few months of 2020, I was able to creating experimental moving image pieces contact many people within the Catholic as well as a short documentary film for my Church, from those in LGBT Catholic final project allowing me to continually support groups, journalists, to those within

evolve my practice and not remain too static the hierarchy of the Church, I had secured in one area. As I come from a Graphic interviews and was able to film one before Communication Design course/background, the lockdown occurred. the fundamental skills and historical Since the COVID19 pandemic, it took me

jamesduhan.com context I have learnt has impacted the way I just under a month to fully adjust to this new approach filmmaking; be it through my visual routine, and figure out how I would pivot and conceptual methods. my project within the remaining months The origin of this project stems back to leading to my final university deadline. As I a relationship which has existed in my life was confined to the four walls of my home, since I was born. The battle between my I found it was only appropriate to focus on

Catholic upbringing and me being gay. my personal story. Subsequently, I created These two aspects of my identity have a film which focused on how the Catholic

always butted heads during my life but only Church and its teachings have affected came to light when puberty hit. Since then, I those within our household. Looking at the was aware of how the Church I was brought different relationships within my family unit up in, fundamentally does not accept me, for and ultimately presenting a family portrait a part of me that cannot change. Within its on film, within the context of religion and it’s teachings, someone who is gay is labelled conflict with sexuality. as ‘intrinsically disordered’, as said in the Losing Faith is a short documentary [email protected] Catechism of the Catholic Church. Coming exploring when a child separates from a reli- into unit 10 and having a portfolio of moving gion in which the parents have brought them image work which I have built throughout up. With sub-themes of sexuality in context university, it was obvious for me that I to religion. We meet the Duhan family and Duhan wanted to create a film for my final project. explore the layers of their relationships with I had wanted to explore this topic since the one another and their current life within

summer of 2019 and would be focusing lockdown. However, most importantly, how on this personal identity which I have just the Roman Church has challenged each described. During these two terms, I would person in it’s own way, and, through these research, plan and create a documentary challenged has brought them together. which would explore those who are LGBT+

Contact Details: Title:Project Losing Faith James Duhan Full https://vimeo.com/426846877 available video here: James

DuhanGCD 2020 EXHIBITION ~ James Duahn ~ Losing Faith Kate Wixley The Home ScreenProject Title:

thehomescreen.cargo.site Kate katewixley.com

My name is Kate Wixley and I’m a multi-dis- As periods of intense change are paral- ciplinary designer from Cape Town, South leled with heightened trends in nostalgia, Africa. Although I’ve pursued a degree in The Home Screen visualizes this through Graphic Communication Design from Central the interior style, merging Victorian interior Saint Martins, I specialize in merging visual revival and obsolete digital technologies. communication with textiles and print. By merging two forms of physical nostalgia, [email protected] [email protected] As one uses print and aesthetics as an from two technological time periods, a extension of their own visual identity, I want nostalgic visual style is created. to use this medium to start a conversation Dollhouses have been used throughout and connect to individual experiences of history to reflect the lives of the owners and Wixley the world. The Home Screen records the makers, and The Home Screen serves as a childhood of the digital generation, in min- visual record of how deeply technology has

iature, giving one a virtual tour of the digital become embedded in modern daily life. The ‘good old days’. This is illustrated through tour, script, and wallpapers were designed an interactive historic tour of a doll’s house, by Kate Wixley. The Home Screen can be which uses obsolete digital technologies as interacted with on its website, designed for inspiration for the interior design. browser viewing.

Contact Details: Title:Project Home Screen The Kate Wixley Kate

WixleyGCD 2020 EXHIBITION ~ Kate Wixley ~ The Home Screen Celeste Thexton-Gration Wrapt Project Title:

Celeste

celesteivy.com Following my previous self-directed project can be a metaphysical experience. Having where I looked into the taboo subject of Sex the time to wrap up pre-session or fight is Education, I wanted to continue investigating an opportunity that you can be mindful and into how we can use visual supports to mentally prepare. These set of hand wraps help us connect and engage in other with a punching bag style inspired packag- topics we find difficult to talk about. After ing were a challenge to make with a lack of

discovering an article by Aamna Modhin resources and materials never arriving due called “Redefining the Strong Man” about to the pandemics lockdown, I had to use my

the champion boxer Tyson Fury opening bed sheets to create the wraps and old card up about his mental health, I realised that materials for the packaging which became existing stigmas may be a false impression an interesting task. They hand wraps involve of what boxing is about and what it means ways in which other boxers and martial arts for individuals. Often, boxing is seen as an practitioners use mindfulness as a tool to aggressive sport, where physical strength relax, build confidence and keep yourself and masculinity is flaunted. But beneath the calm. The mind is a powerful tool and can [email protected] brutal force, it’s a form of expression and be used to enhance day to day thinking identity. I became fascinated by the use of as well as athletic performance. Taking hand wraps, which are used across some control of your mind can benefit your mental martial arts practices for protecting your health greatly, it can help you decode Thexton-Gration hands in a fight. When hands are wrapped your emotions, allowing you to learn about before a fight or training, it gives you time to yourself which can lead to more effective

visualise how it will go. Visualisation is often conversations when you reach out. As well misunderstood. But if practiced properly, as the illustrative motives for these mindful it can become a very powerful tool. The methods - I have included helpline contacts combination of visualising and the physical at the end of the wraps to encourage binding of the wraps around your hands reaching out if needed.

Contact Details: Title:Project Wrapt Celeste Thexton-Gration Celeste Thexton

GrationGCD 2020 EXHIBITION ~ Celeste Thexton-Gration ~ Wrapt Ella Alder Shopbox Project Title:

Ella ellaalder.com [email protected]

In our fast paced society consumer trends heck is shopbox anyway? Shopbox is a food Alder show Britons are opting for fortnightly in delivery service that allows you to collect store big grocery shops, with smaller top up your shopping on your way home at desig-

shopping throughout the week. To adapt to nated tube and bus stations. Eliminating the the changing needs of consumers an easier dreaded after work trip to the grocery store way to shop was needed. Hence the idea of or rushing home to meet a traditional food shopbox was born! delivery; by bring the grocery store to your The concept for the project: What the fingertips and at your convenience.

Contact Details: Title:Project Shopbox Ella Alder Ella

AlderGCD 2020 EXHIBITION ~ Ella Alder ~ Shopbox Sarah Fae Ehmann From my Terroir.Project Title: Sincerely, Sarah

From my Terroir. Sincerely, Sarah is a publi- passion for food in such an open field. It started cation, a diary of my time in confinement. It as an unidentifiable profile and then, as I shared focuses on how I’ve linked with my roots again, it with my friends, I got asked more and more my « terroir ». Terroir is a term central to my questions on techniques and recipes. They work, unique and particular to French language. could recognize my touch. But It was the interest It combines the concepts of ground, soil, from strangers which was even more gratifying climate, food specialities, folklore and culture, and that made me curious and eager to share Sarah Fae and creates this individual and unique identity more about where I’m from. How they would we call Terroir. During this confinement time, relate to it and engage with it was something focusing on food became what gave rhythm that interested me. I noticed that sharing these to my days. I quickly sought out to learn from photographs and thoughts was a way for me the community that surrounded me, trying to to show what makes the essence of the place I make the most out of the situation. My mother come from. Amidst this, I was also able to show assigned me to different house tasks, at the my true self a shared love for « good, clean, fair

same time she taught me different cooking » food as Arnaud Daguin, a famous local chef techniques. I also had the pleasure to visit dif- says. Villeneuve Weekly is a newsletter I started ferent farmers and producers, neighbour baker as a result of the many responses I had from and had time to have long discussions with my sharing my new daily fabrications on social (farmer) parents who have this shared love for media. It was also a direct response to being

illeneuvecookbook the soil and accordingly the produce able to confined, letters seemed like a perfect way to

@v grow from it. Those exchanges were a real turn communicate. As I kept seeing inspired my the in starting and all throughout shaping my work. produce and people locally and on social media, From there came the interest in the concept there grew an urge to share more thoughts and of Terroir. I was then inspired by the project stories on the topics of community, terroir, agri- «With our own hands» ,which is one of my case culture, food, books …etc Sending a newsletter

studies in my essay, in the way they documented was for me the best way for people to engage this communities’ food traditions but also their in these shared topics. Instead of just stumbling stories, rituals, struggles. They captured an upon a page or a website, people signed up to identity in the form of a book and photographs. receiving a weekly letter, I could see who they That influenced me in the choice of the format were, so not just a stranger passing by and my diary was going to take. My diary acts as a reading my deep thoughts. Villeneuve Weekly log of this valuable time in confinement where I quickly evolved into a platform where I shared [email protected] was able to take time in reconnecting with what other people’s contributions, that part for me I hold dear. It is a combination of carefully taken was the most interesting. These last two projects photographs that aim to reflect the area I come are ones I want to keep feeding and where I from, and is laid out in a way to leave room for have established real links with a community Ehmann the visuals to talk for themselves. through exchanging recipes, stories, thoughts Villeneuve Cookbook is where my project and then results of those. Through this last step

starts from. It is an instagram account I started in my outcome, I was able to shape my research during the first days of confinement when question which clearly stated the aim I wanted to documenting my routine became a way to keep give to my work, that is community engagement, track of time and also to keep motivated and building and giving the kick to build a communi- sane. It was my first experience with sharing my ty through a shared interest in Terroir.

Contact Details: Title: CookbookProject Villeneuve Sarah Fae Ehmann Sarah

EhmannGCD 2020 EXHIBITION ~ Sarah Fae Ehmann ~ From my Terroir. Sincerely, Sarah Abby Colquhoun Ode to the Land Project Title: 07935704568

Abby https://vimeo.com/user33448985 [email protected]

This film was shot on super 8 and created history of Wiltshire. I was lucky enough to during the lockdown period. I intended meet many interesting and knowledgeable to provide an experience for people to people, who passed on their wisdom and Colquhoun collaborate and come together. The film passion to me. I feel a strong connection to documents our connection to the land. It is a the landscape and history of Wiltshire and I

representation of people and place, specifi- wanted to recreate this feeling. I organised cally the place I come from, Wiltshire. a small group of people who were willing to Growing up, I worked at Stonehenge and collaborate to create a portrait and celebra- it was during this time that I developed a tion of the land we come from. passion and interest for the rich and ancient

Contact Details: Title:Project Ode to the Land Abby Colquhoun Full https://vimeo.com/430155389 available video here:

Abby Colqu-

hounGCD 2020 EXHIBITION ~ Abby Colquhoun ~ Ode to the Land Zac Goodenough ( Ghost ) Cat and Matt Project Title:

Zac zacgoodenough.myportfolio.com zacgoodenough.myportfolio.com

A complete sense of loss. A Total lack of reason. they provoke me okay. They look at me like The only direction - failure. “what you looking at mate? You want some do Suddenly, in the grim darkness, hope. A you? You wanna go?” and I thought I might as Goodenough spark. An idea. “What if, yeah, there’s this guy, well take that, and do something with it. I might and basically right, he’s haunted by this cat or as well you know. Since there is nothing, nothing

something yeah? And it’s basically about how else coming to me. Except for “ooh it’s lockdown this stupid ghost cat just gets right on his nerves and I need ice cream from Tesco”. Actually that and stuff”. Great. That definitely sounds so good. sounds like it has some potential. I should’ve That’s like, so deep. Like ghosts and stuff? Wow. done that. Damn it. Wow - why? Why? Well cats embarrass me and

Contact Details: Title:Project and Matt ( Ghost ) Cat Zac Goodenough Full https://www.youtube.com/watch?v=TywTqUAYOO0&t=2s here: video Zac Goode- noughGCD 2020 EXHIBITION ~ Zac Goodenough ~ (Ghost) Cat and Matt Ruby Huges Mundane Morning Project Title:

Ruby hughesruby37.wixsite.com/mysite

The familiar smell of your mum’s kitchen, getting it wrong. We are a society of trackers the thoughts you have while you brush your constantly organising, filing and tracking our teeth. These perfectly imperfect moments steps, progress and productivity. I worry this

are what inspires my work. We have the is leaving no room for error, which is a big technology now to create the perfect part of the journey. narrative of ourselves. Yet we are all humans Technology has allowed us to become who have chaotic thoughts and odd socks, a society of trackers. How many steps we I hope my work reminds you of that reality. take, how much we eat, how much we look Mistakes are a huge part of my practice, at our screen, how much we spend, how making mistakes has always fascinated me. much we digest information, and so on. Mon- [email protected] Failing all my exams and struggling through itoring our movements, plans, intakes and education my whole life has made the idea interactions. The interesting part of this to of ‘mistakes’ and ‘getting it wrong’ a big me is the part we can’t track. The distracting part of my journey. Throughout the years thoughts and chaos we have in our heads. Hughes I’ve realised mistakes are how you learn No matter how hard society tries to push us and are incredibly important especially in to document and categorise everything. I

my creative practice. The ironic thing is this believe this part of our every day is sacred idea has fuelled the inspiration behind my and should be cherished. I wanted to create visual language, my work has done a full a piece of work which not only comments circle and the foundation behind my work on documenting this but also highlights the has ended up being about imperfections and chaos which can’t be tracked.

Contact Details: Title: of date Project and out Late Ju-Fei Cheng / Andrea Full https://youtu.be/KEKx_nUgpXY available videos here:

ht

Ruby tps://www.youtube.com/watch?v=7NttxxG8d6o&list=UUezVNKvxXJ8fNjQdPiUSJYA&index=6

HughesGCD 2020 EXHIBITION ~ Ruby Hughes ~ Mundane Morning David Frame Why youProject Title: should go to the Cinema Alone

David

07881296154 [email protected]

Underused by social designers, comedy has audiences towards socially-motivated messages. the unique capacity to provide critical analysis ‘Why you Should go to the Cinema Alone and disruption of social issues to everyday and How to do it. (Seriously).’ is an article that Frame audiences. By making social topics engaging, humorously advises and dictates the reader as accessible and convictive, humour is becoming to how and why more of us should be going

an increasingly valid and reliable tool within to the cinema by ourselves. Using comedy to activism and social design. engage readers towards socially-motivated My showcase demonstrates this use of messages, the written piece promotes the comedy; specifically exhibiting how comedy can practice of self-care and mindfulness. be used as a delivery mechanism to engage Please take a read for yourself.

Contact Details: go to the Cinema Alone should Title:Project Why you David Frame David

FrameGCD 2020 EXHIBITION ~ David Frame ~ Why you should go to the Cinema Alone Ju-Fei Cheng / Andrea The Museum of Sleep Project Title:

Ju-Fei Andrea andreachengg.myportfolio.com

Welcome to the Museum of Sleep, we wish hidden messages and information about you a good night with soothing dreams and sleep and dream. a peaceful sleep (digital illustration, booklet, A printed blanket is included in the pack- blanket, and animation). age dedicating to provide physical comfort An unconventional package of solutions to improve one’s sleeping experience. for those who suffered from insomnia. One side of the blanket is the rearranged [email protected] Begin with the three-dimensional booklet, illustration of the Sleepy Food Gallery, the The Museum of Sleep, which provides other side is the illustration of the starry sky museum-like corner spaces in the booklet and the star signs. with not only scientific and food knowledge The animation is about the starry sky, star Cheng about sleep but also poems about dreams signs, and moon cycle, which is an idea of visualised by fantastic illustrations. The mimicking how human beings fell asleep

physical booklet turned out to be full of under the night sky naturally in the old volume and texture. Each page is a gallery times without the roof. The animation can or exhibition room that provides an immer- be projected on the ceiling in the reader’s sive experience to the readers, and there bedroom to provide a better and more are cut-out parts on every page that carry welcoming sleeping environment.

Contact Details: Title: Project The Museum of Sleep Ju-Fei Cheng / Andrea Ju-Fei https://youtu.be/Ky2ZVbiX9X0 Andrea

ChengGCD 2020 EXHIBITION ~ Ju-Fei Andrea Cheng ~ The Museum of Sleep Leila Wallisser Copy Carbon Project Title:

Leila leilawallisser.com

How can we add value to discarded resourc- approaches and with a focus on envi- [email protected] es? My final project at Central Saint Martins ronmental issues, my practice involves is an attempt to add narrative to by-products bringing various fields such as photography, of our current ecosystem. It focuses on product and editorial design together. I am

integrating natural aesthetics back into interested in the effects design can have Wallisser man-made waste, provoking the viewer to on behaviour, and am curious to explore question the value of our resources and the the extent to which design functions can be

consequences of our current relationship applied to subtly break boundaries. With an to nature. information-oriented approach, my aim is to The nine materials take inspiration make the hidden accessible through means from the visual aspects of wood, marble of aesthetics, interaction and criticality. and stone. Inspired by interdisciplinary

Contact Details: Title:Project Carbon Copy Leila Wallisser Leila Walli -

sserGCD 2020 EXHIBITION ~ Leila Wallisser ~ Carbon Copy Jihyun / Jay Kim HowProject Title: to Dine 101

Jihyun Jay jaykim98.wixsite.com [email protected]

Kim We are making impressions every moment affect one’s image. And “Know Your Fine of the day. Dinning” & “Know Your Asian Dining” kits

*How to dine 101* is a project that are educational tools for people to learn focused on educating people on dining accurate etiquette and use of different etiquette. Video “Come Dine With Me” cutlery in various dining situations (such as encourages people to realize how a lack Fine dining and Korean/Japanese/Chinese of knowledge in dinning manners could dining).

Contact Details: to Dine 101 Title:Project How Jihyun / Jay Kim Jihyun Jay

KimGCD 2020 EXHIBITION ~ Jihyun / Jay Kim ~ How to Dine 101 Alice Gough Frank the Goldfish Project Title:

Life can sometimes be very overwhelming, and passion for the mix of target audience we are forever surrounded by negative news, within adults and children we were excited to energy, and thoughts; it can take over our collaborate and felt we could both continue lives, feeling guilty for not living and appre- through this last project to learn from each ciating every moment of everyday. Forever other, while exploring. worrying what’s going to happen next and Through play, kids learn to make are we doing everything right, trying to decisions, exercise self-control, respond Alice be ‘Happy’ all the time. The question I to challenging situations, and follow rules. continuously asked myself was what could I Social play helps kids make friends, and do to help from a designer’s perspective to it makes them happy. Thinking about how communicate and creatively push this idea? people can use creative activities as a tool These complex topics need to be viewed for everyday life, got me thinking about, from a different angle. I thought why can’t can ‘play’ be used as another method of we as a community rethink, and start to ‘opening up’? communicate correctly with the future of our We created ‘Little Lessons’, which is a society, children. Using narrative through the two-part publication involving both a child act of reading to children from an early age and their parent in guilt-free playful led

byalicemay.myportfolio.com helps to create an interest in language and activities. Each ‘lesson’ is designed with to encourage children to learn. This is where education in mind and fun at the heart of it. I embraced this idea of using narrative to be With the focus on Parents fitting activities used as a tool of explaining a complex topic around a busy lifestyle within any household. to children. The child’s publication possesses all the Throughout project 01, when putting fun that children desires, and the parent’s myself into a child’s way of thinking, it made publication has all the information about me reflect on my own childhood and my own approaching these lessons and how to life experiences. Something that impacted reflect on them afterwards. my life massively when I was a child was With this project being sparked and when I sadly lost my Grandad to Dementia. I responding to the current complex issue of took inspiration from this emotive experience the pandemic, when we as a community get to create an illustrated story book called some normality back we want to encourage ‘Frank the fish’. parents to keep up this close relationship. We have all faced hard times these past Channeling this message of ‘togetherness’ [email protected] months with the outbreak of Coronavirus. I with this project I feel the collaboration with have found it difficult being a ‘creative’ but Ella on this project has been the making also just a human. It’s hard to keep positive of it! With our project’s message being

and for the first time in my life, I’ve experi- to encourage and embrace adapting our Gough enced troubles with my mental health. This everyday lives within these hard times in has been interesting in a way because of my this pandemic, I feel we as a pair have taken

passion for vocalising ‘mental health’ has on this idea impacting our work ethic. We been leading my project from the start. adapted to the ‘new normal’ of working Continuing my ideas into project 02, I and making decisions over video call. I am decided to collaborate with one of my peers excited to see what the future holds for this Ella Zeki. With us both having a clear focus product we have creating together.

Contact Details: Title:Project the Goldfish & Little Lessons Frank Alice Gough Alice

GoughGCD 2020 EXHIBITION ~ Alice Gough x Ella Zeki ~ Little Lessons Rana Arrad Digital Object Translations Project Title:

07492917927 Rana ranaarrad.com This showcase is comprised of two final These digital processes of making act as major projects that help to highlight the the tool of storytelling and re-presented the digitisation of culture and how that digital objects to allow audiences to understand can further help to accentuate important and visualise the history and culture of said information about different cultures. That objects. Archiving the objects allows for being said, these projects create an under- audiences to view the work and showcases stood world of how things have emerged the preservation of the cultures that are

through time; culture within this context, and represented by the objects. stimulate a sense of belonging through the Authenticity vs Digital: A design outcome demonstrations of history of the past and that showcases how the values of authen- information of the current present. I wish for ticity of a physical object is portrayed the audience to engage with my work in a through the process of digital making. This way that would allow them to be educated project was used as a study in order to and take on the conversation that has been investigate how values and qualities of an [email protected] provided and utilise it in a way that would original physical Austrian wooden pipe can expand deeper thinking. change by the digital translation processes. Digital object Translations: A design Authenticity meant to withhold qualities of

outcome that showcases the collection of originality which can be recognised in the Arrad objects of cultural significance collected physical object; in this case; The Austrian through social media and the online world Wooden Pipe.

and translated and archived digitally. This animation showcases the different Participation in telling the stories behind the layers that makes up the history, back- objects in this project is an act of construct- ground, culture and usage of the object and ed identity through the participation in the how it has been translated from the physical digital environment; Instagram. to the digital.

Contact Details: Title:Project Digital vs Authenticity Rana Arrad Full https://www.youtube.com/watch?v=aD66eFx2tPs available video here: Rana

ArradGCD 2020 EXHIBITION ~ Rana Arrad ~ Digital Object Translations & Authenticity vs Digital Jordi James A Public PlaylistProject Title:

07890559152 Jordi jordijames.design

As a Designer, Participation has become an was the ‘Public Playlist’ Idea using Spotify increasingly important part of my practice, as a platform to create publicly curated influencing my concepts and process playlists by playing music in public spaces allowing me to implement the aspect of and asking the people that walk by to play a

chance within my work. Inspired by the song, creating a kind of musical map of the ‘Happenings’ of Allan Kaprow and the Fluxus people and communities of the area. artists who embraced participation in their Indeterminacy Bus Stop Posters: For the works, I began reimagining and creating my bus stop posters, I placed blank A1 sheets own Happenings focusing around the idea of of paper and pens in Bus stops across tactility. I wanted to create my Happenings London, with the instruction “DRAW ON ME” [email protected] within Public spaces, exploring the clearest hand written in the centre. After 24 Hours and simplest ways to communicate and the posters were collected, with the hope encourage interaction and expression that they had been filled with writing and

outside of the exhibition space. illustrations from the public who used these James Public Playlists: Inspired by Allan bus stops. I was pleasantly surprised by the Kaprow’s Happenings, I wanted to create amount of interaction the posters received.

situations for people to express themselves Each poster provided a social commentary and their personalities through designed on current issues along side doodles, systems that create a casual encounter, creating a type of visual representation of using our daily lives and interactions as the commuters. ‘Art’. My main exploration during this project

Contact Details: Title:Project A Public Playlist Jordi James Jordi

JamesGCD 2020 EXHIBITION ~ Jordi James ~ A Public Playlist Jess Minying Li Digital Neighbourhood Project Title:

Jess Minying wavycircle.com

Digital Neighbourhood: This series of collage the meaning of the contents we type in. is a result of the documenting-based photo- As we live under the environment of rapid graph I took in central London, the purpose information delivery, the more convenient the was to observe and document how we tools are, the less time is left to us to think, interact with smart devices nowadays and and the information we present becomes reflect on whether we are over-adaptive on less precise. On the other hand, providing them. Behind the photography, the intention visual design for users to present their of observing our interaction with the devices ideas is existing as a role of ‘vibe’ in real-life is to think about how human behaviours are conversations in this solution. In actual changing by digital tools, for instance, we conversation, we rely on more than words to are using more emoji and short words in deliver information. The thoughts exchanging communication because we are adapting to by non-verbal ways such as facial expres- [email protected] the texting conversation. And changes like sions are normally abstract meaning and this might not be visible for us. Technology emotions. As such a part of communication is reasonably developing for providing more is lacking in the digital world, the thoughts conveniences for users, but do humans we deliver could be less precise. Especially Li necessarily ought to be changed by it? under the pandemic background, technology type ~ face: An add-on designed for is undeniably offering more advantages.

visual customising while smartphone users type~face is trying to find the balance be- are having conversations through texting. tween remain human sense and independent type~face intends to offer more freedom for thinking and the user freedom we have in the users to design their messages, at the the digital world. same time, leave space for reconsidering Contact Details: Title:Project Type Face Jess Minying Li Jess Minying

GCD 2020 EXHIBITIONLi ~ Jess Minying Li ~ Type Face, Digital Neighbourhood Océane Tam Project Kubos Project Title:

yanyan Océane @mindof anyan-visualarts.com/ y

Project Kubos is a digital user experience to show the good in it and the bad because [email protected] with the intent of demystifying the case of everything always is, “good” or “bad” in solitude/isolation. Presented on a website, it our eyes but ultimately nothing truly is, it is invites you to explore the different facets of only the meaning we’ve given it and how it isolation at your own leisure, based off the has affected us and our emotions. These Tam idea that fairytales relieve the weight of our environments are made to incite recollection reality and projects us into a fantasy world of experiences and memories related to the

where we can reflect upon our misfortunes facet. Paired with the small descriptive texts all the while being removed from them. to guide the individual’s journey through This project aims to display these feelings Project Kubos, there is no right or wrong of solitude/isolation and show them as they it just is. I hope that users will share their are not for what they are perceived to be, thoughts and experiences. Contact Details: Title:Project Kubos Project Océane Tam Océane

TamGCD 2020 EXHIBITION ~ Océane Tam ~ Project Kubos Lewis Fry The ErasureProject Issue Title:

‘The Erasure Issue’, is a proposed design in- this audience is to be respected through tervention. It takes the form of an informative positioning the audience in terms of corporate gift package. The intention is to status through semitiotics. The newspaper urge corporate professionals behind brands consists of a wide range of Trans and non within the creative industry to consider their binary views on the topic, which are then relationship with queer representation in juxtaposed with statistics which aims to branding and advertising. The intervention highlight why authentic and positive queer Lewis takes the form of an informative package; representation in branding and advertising is disguised as a corporate gift that uses the so important in tackling erasure and ongoing voices of trans and non-binary participants marginalisation. The gift is designed to to provide insight into what can be done unfold and play a summative role in regards to provide more adequate and authentic to the information presented throughout representation. The package consists of an the package. The packaging for the gift informative newspaper style publication and (a fragrance: A nod to an industry that is

a bespoke gift for the recipient. incredibly imposing of binaries) unfolds into Designed to ‘manifest the capacities’, a range of summative posters, consisting of relations between brands and the of interview questions and answers from

lewisfry.com queer community; the information empha- the newspaper and pairing these with the sised within the package is intended to manifesto, acting as a snapshot/ conclusion stress the importance of representation and for the package. show how it directly correlates and impacts ‘Same’ is a social design project that the issues of erasure and marginalisation was provoked by the continued erasure within the queer community. of queer identities from education and the The package consists mainly of an effects this can have on the development of informative and thought provoking newspa- a wider range of social identities. The project

per publication and a bespoke gift for the consists of a discreet mobile app that recipients. The rationale behind the idea of provides LGBT teenagers with educational sending a gift is that ‘corporate gifts’ are queer related content such as sex education commonly used to manifest and build rela- that is often erased from school curriculums. tions between corporations and clients and/ The app also aims to provide a safe space or consumers, for example when companies for queer teens; through live and interactive have giveaways, reward loyal customers content. Also included is a correspond- [email protected] with gifts or give away free products. This ing widespread campaign to promote the project aims to flip the script and send a gift app and directly reach the demographic of to corporations on behalf of an audience queer and questioning teens.

that is both inadequately and inauthentically Fry represented as a means of establishing a relationship.

The aesthetic is designed to be minimal and hint at the concept of erasure in it’s visual language but also to represent a queer audience in a sophisticated way, sending the message to the recipient that

Contact Details: Title:Project Same Lewis Fry Full https://vimeo.com/438924202 available videos here:

Lewis ht tps://vimeo.com/423663227

FryGCD 2020 EXHIBITION ~ Lewis Fry ~ The Erasure Issue Roberta Lor Misfit Fruits LAB Project Title:

Roberta robertalor.com/portfolio

The “Perfection and Imperfection” project is that have been processed, such as injection about challenging the notion of good food or taste enhancement. The reason why they and changing people’s perception of mis- are ‘perfect’ because it is not natural. shape fruits. According to WRAP research, Misfit fruit LAB tried to use information in 2015, post-farms and retailers threw away graphics to showcase the interesting facts [email protected] 10.2 Million tonnes and 260,000 tonnes and benefits of having wonky fruits. In my of food waste in the UK, one of the major opinion, the definition of good food has been reasons was the imperfect appearance. misled in our society. Thus, I would like to

Therefore, the idea of “Misfit Fruits LAB” was question how aesthetics take over quality in Lor to challenge people’s perspective towards real life. Instead of using traditional media misshape food and investigate the notion of like publication, I considered creating an

perfection in relation to food. experience design that can make my work During my research, I considered mis- more interactive, meaningful and memorable. shape food is a kind of organic food. They I applied multi-sensory in my work which are imperfect looking due to growing natural- can provide an unexpected discovery for ly, However, the norms tend to purchase fruit visitors.

Contact Details: Title:Project Misfit Fruits LAB Roberta Lor Roberta

LorGCD 2020 EXHIBITION ~ Roberta Lor ~ Misfit Fruits LAB Matt Tam Hope is outProject there Title:

Matt tt.tam.creations @ma hance.net/matttam be [email protected] [email protected]

Hope is out there: I started this project by staying at home. They are truly the heroes exploring the idea of stimulating an optimis- that children should be looking up to. tic mindset through graphic design. When Mask Messages: This project originally Tam the pandemic hit, it completely redefined started with messages written on face my brief, now with the purpose of finding masks, as a way for myself to prevent

hope in difficult times. ‘Hope Is Out There’ anti-Asian racism in public fuelled by the is an illustration that celebrates the work of COVID-19 pandemic. It eventually developed frontline healthcare workers, who continue to into wire decorations on masks to spread risk their lives out there fighting a battle with positive messages during this difficult time. the virus, while we try to lighten their load by Contact Details: Title:Project Mask messages Matt Tam Matt

TamGCD GCD2020 2020 EXHIBITION EXHIBITION ~ Mabel ~ Matt Xiaotong Tam ~ Chen Hope is~ outInfo there Furniture Yasoja Ratilal Ethos Project Title:

Yasoja

My design practice shifts between system is a set of 56 collectible character cards construction and illustration. I believe about the technologies of which surround in breaking down complex topics and us daily. My intention was to commentate currently am fascinated with technologically and reposition our emotional relationships

yasojaratilal.com/ orientated design futures. My project opens with existing technological artefacts. Talking discussion about the integration of robotics Tech cards are inspired by 80s cartoon and machine learning into our daily lives. and comic style, in reference to a format of The robot is a complex subject of both nostalgia, wit and longevity. All cards were fiction and engineering, and I explore both hand drawn keeping the authenticity of retro elements in a two-part investigation: (1) The card graphics, each with a unique take on

ethical appeal (ethos) of robot the stories a technological item would tell. autonomy (2) The emotional connection An additional project I did is for the

(pathos) to existing technological artefacts. NextGenPSF AI project, conducted by I aim to change how we perceive our multiple researchers in collaboration with relationships with machines, reimbursing our Central Saint Martins. Tasked with visual- emotional connections to tools of the future ising depicted 2030 scenarios given by the and remove the scepticism surrounding researchers, I decided to not only illustrate the autonomy of robot expression. The first the core elements of “2030” AI intervention element of my project takes form as a print- but package each scenario, recomposing [email protected] [email protected] able home robotics kit designed to be an the dense documents into a set of prompt intuitive resource for building your own robot cards. I aimed to make the subject more arm. A Rodo bot when connected via Wifi conversational for new entry researchers performs a series of emotive expressions - I into the AI project. There is a collection Ratilal wanted to introduce new participants in the of three packages, one for each scenario. field of robotics to robot autonomy through Each package contains a 32-page illustrated

lo-fi means at their homes. It is by this publication and a card set. build yourself robot I hope to remove the These projects exemplify my nuanced scepticism and speculation surrounding the design practice as moderated, realistic allegedly complex machinery. approaches to subjects one may initially The second embodiment of my project perceive as utopian or dystopian in nature.

Contact Details: Title:Project Pathos Yasoja Ratilal Yasoja

RatilalGCD 2020 EXHIBITION ~ Yasoja Ratilal ~ Talking tech Lili Phillips That being said, if you had told me a few months me a few ago had told That said, being if you inclusivityOur push for a screen. to been limited has not Since the optimism beginning, Nearly has fuelled been by laughed, cried and consoledIt’s have time. a strange We

that I would be developing a website, I would have laughed. have I would website, a that be developing I would I say. myself I can hear “Definitely not.for tactility.”, I’m all the this, tremen-stand realise to by grown though I have dous possibilities within just a digital are landscape—they find. to rare alternative publish- discovered have we together, In working solutions,ing a large-scale producing typographic newspa- “The (McLuhan, medium is the message.” 1964).per. The fight our anxieties to and challenged adopted was format cancel out theand to noise of the pandemic. and fearlessness. this positive I believe is what mindset Nearly success. to started list drove As soon as our to-do Abbie discuss and I would further didn’t work. clear, to We almost 3 months, For videostop. Abbie called and I have 7-hours-straight. sometimes for every day, ways, In many the she for distancing social I’m grateful measures, as I fear now. strangled me by have would one another through Skype. this the Sure, wasn’t path we anticipated, but it certainly places. great us to After took all, special work, produce to it’s want worth‘If you collaborating (Hegarty,with special people.’ 2014). a passive audience, participatory creating designers are and Sto- (Armstrong open-ended generative systems.’ of content 2011).jmirovic, system designed a working We attend: all to for curation, environment a safe delivering monthsfew Nearly’s of our final of university. an exhibition visitors to requiring adventure, is an interactive website through a timelinerummage of GCD submissions.

Nearly Project Title: Project

Project Title: Nearly Words by Lili Phillips by Words My last few moments My precious—Abbie in the last few studio were together?” work about we “How I thought out loud. Abbie how truly sure I’m not felt, although she readily After one successful trial be the plan to run, our great do things to that make forced Sometimes are we in life, our project, pivot to The callan agreement ended in Abbie and I became the facilitators of a community-led NEARLY A PUBLISHING HOUSE A PUBLISHING NEARLY Nearly, a Publishing House was born out of uncertainty, House was a Publishing Nearly, the publish and empower frustration to urge and a pure our peers amid isolation. from work and I sat (at in our usual seats theLilley tables, white of course) about InDesign, moaning the menu and our canteen lack of motivation. agreed. house suddenlyfirst pop-up publishing became impossible. As the global and our beloved lives pandemic upended our ourselves on a found we forbidden, now was area working phone call, thinking of a plan B. four-hour-long uncomfortable,us feel although find out to that I was this lessons. the learn being me, we most valuable is how For forced were but we uncomfortable digitally, working meant adapt.reality;to of our terrified Abbie and I were terrified of missing out on crucial conversations;working of terrified alone;experience. of a digital terrified learning prac- through the our creative climate to current responding transitiontice. would a house, ‘Nearly’, into Our publishing that championsplatform our peers, since ‘The unique part of ‘Nearly’ is the (@daisieapp, lack of expectations.’ 2020). afternoon critique, a typical you’re Just like CSM Tuesday the showcase to unfinished gems—a crucial encouraged discussion, group and reassurance. alteration moment for project. ‘Ratherto than clean, finished products delivering Lili Phillips BIBLIOGRAPHY

Armstrong, H. and Stojmirovic, Z., 2011. Participate. New York: Princeton Architectural Press, p.11. Hegarty, J., 2014. Hegarty On Creativity. Thames & Hudson Ltd, p.75. McLuhan, M., 1964. Understanding Media: The Extensions Of Man. McGraw-Hill. 2020. @daisieapp. [video] Available at: