MA Graphic Branding and Identity student wins open call by Colombia’s biggest theatre festival

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The Ibero-American Theater Festival of Bogotá 2016 proposed identity, © Nikolai Garcia Gamarra

Nikolai Garcia Gamarra, a student on LCC’s MA Graphic Branding and Identity, has won a competition to create the visual identity for The Ibero-American Theater Festival of Bogotá.

This international celebration of theatre began in 1988 and takes place every two years, bringing together the best companies, directors and artists from Colombia and around the world.

Organisers sent out an open call to design the visuals for the next edition in 2016, which attracted 1500 entries.

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The Ibero-American Theater Festival of Bogotá 2016 proposed identity, © Nikolai Garcia Gamarra

Nikolai’s design was selected by the panel, who said:

“The winning design communicates the festival’s identity with a lot of simplicity, flexibility and clarity. It uses a very attractive and diverse colour scheme, and could be used in every kind of medium without losing its character”.

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The Ibero-American Theater Festival of Bogotá 2016 proposed identity, © Nikolai Garcia Gamarra

We asked Nikolai to tell us about what inspired his work:

“I really wanted to change the usual elements that were used for the festival in its previous editions. A mask, clowns, hand-drawn fonts and a black, yellow and red palette (the colours of the city) were recurrent elements throughout the festival’s history.

“I have always thought that this festival is one of the most vibrant, energetic and multicultural events in Bogotá and believed that it should be represented by a colourful identity. This was an opportunity to dress the city in a wider range of colours to show this vivid event.

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The Ibero-American Theater Festival of Bogotá 2016 proposed identity, © Nikolai Garcia Gamarra

“The symbol is based on the stage, putting the 2016 festival in the centre of the spotlight. It is the place where things happen and is where all the attention is going to be next year.”

The award ceremony celebrating Nikolai’s success will take place in June 2015.

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The Ibero-American Theater Festival of Bogotá 2016 proposed identity, © Nikolai Garcia Gamarra

Read more about MA Graphic Branding and Identity

Seven LCC MA Photography alumni open ‘The India Club’, a site-specific visual arts project

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‘With Every Action Architecture Changes’, Will Jennings, 2015.

‘The India Club’ is a site-specific visual arts project initiated by Specular Assembly, a group of seven LCC MA Photography alumni working predominantly with the medium of photography. The exhibition that concludes the project is taking place at the Hotel Strand Continental 20-25 May 2015.

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‘Listening Device (Radiator)’, Lee Milne, 2015.

The artists involved have all created work in response to this unusual building, its interiors and its history. The exhibition will inhabit the Hotel’s public areas and aim to compliment the unique atmosphere of the space.

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‘Flag Study Pt 1′, Chris Down, 2015.

Hotel Strand Continental sits between Somerset House and Waterloo Bridge, signposted only by an unassuming door and staircase off The Strand which leads to The India Club bar and restaurant. Founded in 1946 by V.K. Krishna Menon, the first Indian High Commissioner to the UK, the building was once a hub for political activity, with other founding members including President Nehru and Lady Mountbatten.

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‘Merry Go Round’, Minna Pollanen, 2015.

Spread over the first two floors, the bar and Indian restaurant have changed little since opening, and the original furniture and fittings, now somewhat faded, create a time-capsule feeling in the space. The hotel occupies the upper three floors, and is popular with foreign tourists, attracted by the central location and mostly unaware of the building’s heritage.

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‘Alphonso’, Ben Cave, 2015.

The exhibition’s overriding curatorial theme is ‘politics of space’, and the artists’ work will draw on the cultural and political history of the building.

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‘Hierachies’, Katja Mayer, 2015.

A series of talks and events will be held throughout the show. 

Find out more about MA Photography here.


LCC students exhibit social objects at ThingsCon conference, Berlin

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Yiding Xia’s project ‘Make a Group’ builds communication to enable friends and family members to support and encourage each other in achieving their goals.

LCC’s MA Interaction Design Communication students were recently selected to exhibit their work at the ThingsCon conference in Berlin on Thursday 7 – Friday 8 May 2015.

ThingsCon is a leading European conference about the future of hardware, connected devices and the Internet of Things (IoT), and includes talks, workshops and an international line-up of speakers, this year including LCC Lecturer in Design for Interaction and Physical Computing, Nicolas Marechal.

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Nicolas Marechal gives a presentation on social objects at ThingsCon 2015

Nicolas’s presentation about his students’ work, ‘A design approach to IoT: the social objects’, outlined the MA course’s interest in exploring the use of technology. With the IoT currently led by technology rather than design, LCC students are encouraged to look at the role of design in shaping the future of objects.

This year each student was asked to find, define, refine and make a social object. Nicolas explains that social objects “are transactional as they facilitate exchanges, they connect the people who create, own, use, critique, or consume them”.

The resulting objects created by the students tackle the subjects of paranoia, sustainability, domestic violence, social addiction, haptics, disobedience, history and many other topics.

Four students secured job or project offers during the conference and exhibition, and some will be applying to Casa Jasmina, a project announced at the conference by sci-fi writer Bruce Sterling.

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Qiaozhi Zhao’s ‘The Mood Cactus’ uses the cactus as a metaphor for resisting or dreading intimacy within relationships.

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‘Personal colour’ by Xuanjia Ren aims to engage people in communication using colour. Participants choose their glasses according to their favourite colour, and when people toast with each other the colours change.

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‘Nomo-Wearable’ by Eric Lin aims to shift people’s concentration back from the virtual world to physical reality. A wearable device is strapped to a user’s arm and applies negative feedback when it detects mobile wireless connection usage.

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‘Social Circuits’ by Kalypso Kaplani is a participatory artwork that encourages people to make tags, signatures and shapes by creating circuits on the canvas.

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Anan Huo’s ‘For Her’ is designed to help victims of domestic abuse. Users wear it beneath their clothes, and if they are physically attacked it triggers an alarm to friends or family.

Read more about MA Interaction Design Communication

Continuum: MA Photojournalism and Documentary Photography (Online) show preview


Only the Dead Have Seen the End of War, John Pearson, 2015.

As graduates from MA Photojournalism and Documentary Photography (Online) prepare to show their work at the College, we preview Continuum and feature some of the photography on display in an exhibition that celebrates 15 diverse bodies of work.

Writing about the concept of Continuum, Senior Lecturer Max Houghton explains:

“The continuum is the thread that connects the end of a two-year Master’s programme to the beginning of a lifelong relationship with photographs.

“Continuum, the exhibition, celebrates this rite of passage and binds 15 bodies of work, not necessarily to create a whole, but rather to influence and reshape each other within the gallery space. As one series flows into another, unexpected meanings can unfurl.”

Images depict memorial grounds for the 1.7 million Commonwealth war dead from the First and Second World Wars, contemporary rituals such as the repatriation of dead soldiers to an English town, the Communist architecture of the Czech panelak, the contested landscapes of border country, and ideas of memory and family.


Beyond the Square, Manuel Francesco Sousa, 2015.

Collaborative project Beyond the Square by Manuel Francesco Sousa attempts to go beyond the imagery of Ukraine’s Independence Square by engaging the project’s participants in shared narratives. Manuel’s work explores hopes, fears and aspirations in present-day Ukraine, reflecting on the place and its people, and their stories and identities.

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When War Is Over, Daniel Alexander, 2015.

Daniel Alexander’s When War Is Over uses archival and new photographic material to explore the huge numbers of casualties from the First and Second World Wars, the worldwide geographical placement of the war cemeteries, the ongoing nature of this commemoration, and the inherent tension in this attempt to commemorate the individual through the uniform treatment of the many.


Only the Dead Have Seen the End of War, John Pearson, 2015.

John Pearson’s project  Only the Dead Have Seen the End of War reviews 100 years of war, asking whether in terms of evolutionary biology, the concept of ‘productive war’ is a more natural state than peace. How is the aftermath of conflict viewed by both survivors and those who have not directly experienced it?


Apart Together, Inès Dümig, 2015.

In Apart Together, Inès Dümig explores aspects of the fragmented life of refugee Sahra, born in Somalia but now living in Munich, Germany, after a perilous two-year journey out of her home country begun when she was 14. Ines is especially interested in the idea of lost dignity; private moments in which we feel safe enough to reveal ourselves.

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ECHO ECHO, Jane Ross, 2015.

Jane Ross is showing ECHO ECHO, which takes its name from the call sign of a BEA Vanguard civilian plane which crashed at Heathrow Airport in 1965, resulting in the death of all on board. Jane’s father was among them, and her 15-minute multimedia piece investigates this forgotten tragedy while also addressing a personal tragedy.

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The Shadow Dreams, Ryan Nell, 2015.

Ryan Nell’s The Shadow Dreams seeks to capture the tension, solitude, physicality, panic and dissociation of anxiety. Having suffered from anxiety disorders in secret for many years, Ryan presents this project as a psychological ‘coming out’ of sorts, and hopes to counteract the loneliness of anxiety by encouraging others to talk about their condition.

Exhibiting in the show are Daniel Alexander, Inès Dümig, Jo Ellicott, Andrea Ferber, Julian Hawkins, Sophie Knittel, Katerina Kontini, Erlend Linklater, Alexia Makridou, Ryan Nell, Aisling O’Rourke, John Pearson, Jane Ross, Rachel Sato-Banks and Manuel Francisco Sousa.

Private View: Thursday 14 May 2015, 6-9pm
Exhibition open: Friday 15 – Wednesday 20 May
Monday – Friday 10am – 5pm
Saturday 11am – 4pm, closed Sunday

This event is part of the Moose on the Loose research biennale.

Read more about MA Photojournalism and Documentary Photography (Online)

Kitty Percy, an MA Screenwriting alumna, has just won the Cordelia Award for her screenplay ‘Butter Side Up’

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Sandown Pier, Isle of White, a key location in Kitty’s screenplay.

Kitty Percy, an MA Screenwriting alumna, has just won the Cordelia Award for her screenplay ‘Butter Side Up’. The winning script tells the story of a hopelessly unlucky small-time criminal who kidnaps a celebrity by mistake, and finds his luck starting to change in unexpected ways.

We caught up with Kitty to find out a bit more about her time at LCC and life as a screenwriter. We also loved her interview with that we’ve included our ‘best bits’ below too!

When did you study at LCC?

I finished my two year screenwriting MA in December 2013.

What did you love most about the course?

One of the best things I’ve taken away from the course is my writers group, consisting of me and half a dozen or so others from the MA. There’s a real camaraderie that comes of having been through the endurance course of a writing programme, a sense of trust and support that is incredibly valuable.

What was the most important lesson you learnt here?

That just because someone doesn’t like your idea, doesn’t mean there’s anything wrong with it. Be true to your voice and to the stories you want to tell, and you’ll find your audience sooner or later.

What advice would you give someone who was thinking of doing the course?

There are screenwriters who do succeed without formal qualifications, but in this climate – which is all about TV as opposed to film – craft is everything. There’s nothing like the rigour of a formal writing programme to hammer the rules into you until they’re second nature. If that sounds unpleasant, write a novel instead!

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Sandown Pier, Isle of White, a key location in Kitty’s screenplay.

From interview:

The dialogue in Butter Side Up is fantastically witty and comedic. What was your process in crafting the dialogue in such an authentic way?

Why thank you, BlueCat. I feel odd taking credit for the dialogue when all I do is take personality ingredients, add them into some characters, cook them for a bit then let them loose, observe what they say and try to write it down before I forget it.

Luck is a reoccurring theme in your screenplay. Which character’s stance on luck do you identify with the most?

Maybe it’s because we live in such cynical, secular times that I’m interested in our unshakable belief in luck. The main character Stan, a small-time criminal on the Isle of Wight, believes he’s fundamentally unlucky. He finally learns that luck – good and bad – is random but ‘lucky’ is a state of mind.

What inspired you to become a screenwriter?

Writing is a way to take all of your mistakes and neuroses and turn them into something useful, and it’s cheaper than therapy. Maybe it’s because my mental terrain is chaotic, but what I love about screenwriting are the structures and boundaries, the rules of the craft.

Do you have any particular writing habits or routines to keep you motivated?

Some writers can barricade themselves in a room and write for hours on end and come up with something good. I am not one of them. My process is like that game at kids’ parties, where there’s a donut hanging from a string and you kind of hover strategically, taking little bites at it (whilst trying to prevent it falling apart) until it’s finished.

What’s the hardest part of writing for you?

Back now. One thing I struggle with is becoming too fond of my characters – even the baddies – so I don’t want to make them suffer. I’m great at coming up with stories where nothing much happens and people are generally nice to one another.

Are you interested in directing your screenplays?

Yes and no. Because my writing is not quite drama and not quite comedy, tone is everything. I put a lot of thought into action and descriptions; I treat them as a kind of trojan horse that I hope will carry my tone into the final product.

What is your ultimate goal as a screenwriter?

There’s a lot of buzz about TV at the moment, and it’s great that telly is having something of a golden age, but I remain truly, romantically smitten by cinema films. I’d love to see a film I wrote make it to the big screen.

Who do you go to for feedback?

One of the best things about doing a formal writing programme (I did an MA in screenwriting at the University of the Arts London) is the chance to find like-minded souls. I couldn’t function without my writers group. Also, since I entered BlueCat, I’ve been signed by an agent. He is a diamond – reads every bit of nonsense I put in front of him and gives constructive and insightful notes.

What advice can you give to aspiring screenwriters?

As I feel like I still am one myself, I should probably limit my advice to subjects about which I’m qualified to comment. To that end: 1) if you’re making mashed potatoes don’t peel them first – all the goodness is in the skin. 2) Unless it’s August, wear a vest for heaven’s sake. 3) The donuts will get you in the end.

Find out more about MA Screenwriting


Xiaoyi Chen, an LCC MA Photography graduate, wins one of China’s most prestigious photography awards


From ‘Koan’, Xiaoyi Chen, 2015.

Xiaoyi Chen, an LCC MA Photography graduate, has been awarded the Three Shadows Photography Award, one of China’s most prestigious photography competitions.

Her series ‘Koan’ explores human reality through a series of abstract landscapes. Xiaoyi explains that photography acts as a philosophical approach to explore notions of spiritual awareness and intuition. Her most recent work focuses on the combination of photography and printmaking, using black ink and print on different Japanese papers to create an atmosphere of desolation and melancholy.


From ‘Koan’, Xiaoyi Chen, 2015.

Inspired by Eastern philosophies like Tao and Zen, Xiaoyi is drawn to the idea of ‘purification through processes’. She explains: “In Zen Buddhism ‘Koan’ is a story or riddle used to help in the attainment of a state of spontaneous reflection, free from planning and analytical thought.”


From ‘Koan’, Xiaoyi Chen, 2015.

She continues: “The Three Shadows Photography Award was a wonderful opportunity for me. This award has inspired and encouraged me to continue to explore the possibilities of photography.”


From ‘Koan’, Xiaoyi Chen, 2015.


From ‘Koan’, Xiaoyi Chen, 2015.

In the next year Xiaoyi is showing her work several times, as well as working towards a large-scale solo exhibition in Rome in 2016.

Find out more about MA Photography

Visit Xiaoyi’s website

ReSounding success for LCC’s BA (Hons) Spatial Design students

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BA (Hons) Spatial Design Course Leader Valerie Mace and first-year students with their work.

LCC’s Digital Space is set to be transformed by the College’s first-year BA (Hons) Spatial Design students in the ReSound project – a collaboration with London South Bank University.

They have produced designs to enhance the aesthetics of the room while also providing acoustic solutions that will enable staff and students to work more comfortably.

Those using the Digital Space have experienced some issues with intelligibility and productivity within the space due to insufficient acoustic treatment.

The space is central to students’ experience at the College, and can be used for both individual and collaborative working. Addressing the acoustic issues would therefore enhance wellbeing and productivity for the space’s users.

Specific acoustic considerations on this brief included barriers to sound, sound absorption, reflecting sound and diffusing sound.

The students proposed designs featuring freestanding acoustic panels, wall panels, ceiling tiles, a ceiling or wall focal point, infill panels for meeting pods, and new or modified furniture.

During the creative process the students attended a lecture and presentation on acoustics from sound experts from London South Bank University (LSBU), held at LCC.

The proposed solution also had to take into account visual impact, materials, sustainability, health and safety, longevity, ease of maintenance and cost.

One of the most significant of these factors was sustainability, as the client was looking for innovative designs using reclaimed or recycled materials that had never before been used to develop acoustic solutions.

This groundbreaking brief will now be used as part of an LSBU research project to develop sustainable acoustic solutions for interior spaces.

Selected designs will be tested at the LSBU’s acoustic lab, and the most successful ideas will be implemented within the LCC Digital Space this summer, meaning that students will soon see their designs realised within a real space.

Below are some of the group’s design explorations and prototypes:













Read more about BA (Hons) Spatial Design

LCC graduate Manuela Henao’s photographic series ‘Beauties’ makes international headlines

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From ‘Beauties’, Manuela Henao, 2015.

Manuela Henao, an LCC Postgraduate Diploma Photography Portfolio Development graduate, has just published her photographic series ‘Beauties’. Manuela was able to make the series, which explores beauty ideals in Colombian teenage girls, after being awarded the Joan Wakelin Bursary in association with the Royal Photographic Society and the Guardian.

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From ‘Beauties’, Manuela Henao, 2015.

With the £2000 from the bursary Manuela was able to travel to Medellín in Colombia where she spent three months photographing a series of young women she met and spoke to. The series has proven to be highly controversial in Colombia, with Manuela’s images making their way into every major national newspaper in the country.

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A scar from ‘tummy tuck’ surgery, from ‘Beauties’, Manuela Henao, 2015.

Manuela explains, “Women in Medellín grew up in a society saturated with images of Narcoculture, women were seen as decorative objects and plastic surgery was the norm. Now the economy is booming in Medellin and capitalism has become part of people’s mind set, these two factors have created a particular interpretation of beauty and femininity in the city.”

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From ‘Beauties’, Manuela Henao, 2015.

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Models pose for cameras at a textile event, from ‘Beauties’, Manuela Henao, 2015.

Some of the girls who Manuela spoke to had started having plastic surgery at the age of fifteen. Estefania, an eighteen year old depicted in the series explains “I can’t even remember when I started to want to change my body, I feel like I have always had that desire in my mind. When I was very little I remember saying to my Mum that one day I will have breast implants.”

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Alejandra underwent an illegal surgery to get bio-polymers injections, from ‘Beauties’, Manuela Henao, 2015.

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A bottle of slimming pills, from ‘Beauties’, Manuela Henao, 2015.

Slimming pills are becoming commonplace amongst young women in  Medellín. Well known models act as sales representatives, selling the pills through their Facebook pages. The pressure to look a certain way is so great that many who can’t afford to visit qualified plastic surgeons often seek cheaper alternatives.

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From ‘Beauties’, Manuela Henao, 2015.

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From ‘Beauties’, Manuela Henao, 2015.

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From ‘Beauties’, Manuela Henao, 2015.

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From ‘Beauties’, Manuela Henao, 2015.

Find out more about the Postgraduate Diploma Photography Portfolio Development

See the Guardian’s coverage of ‘Beauties’

Visit Manuela’s website


New Course Discourse // Graduate Diploma in Photography

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Work by Anna Peftieva, PG Dip Portfolio Development, 2014.

In the latest New Course Discourse, we ask Course Leader Adrian Mott to talk us through a brand new postgraduate courses in the School of Media: Graduate Diploma in Photography.

So Adrian, what’s the difference between the Graduate Diploma in Photography course and the PG Dip Portfolio Development Course also run at LCC?

Well it’s really important that we define this because these courses are similar in many ways, but have a few really key differences.

The existing PG Dip Portfolio Development course is aimed at established photographers and people who already have a fairly well developed practice. They may not be out there working in the industry directly, but they will have a good portfolio with substantial technical skills and competence. The general idea of that course is to give its students an opportunity to develop their conceptual work and add a new edgier dimension to their portfolio.

If we look at the range of photography courses offered by universities of colleges at the moment, a large majority of them are fine art based. Now, what we’re offering with the Graduate Diploma in Photography is a course for people who want to get out and work in photography.


Work by Manuel Perez de Guzman Luengo, PG Dip Portfolio Development, 2014.

In other words we’ll give students lots of great technical workshops, some photography theory and history, but there will be a strong emphasis on becoming involved in the commercial areas of photography, understanding what it’s like to go out there and work as a practitioner.

It’s been developed with strong links to industry, so you’ll be working with people from industry, most of the lecturers on it will be practicing photographers rather than theorists of fine artists, so that’s a real difference between the courses.


Work by Tomila Akhmadieva, PG Dip Portfolio Development, 2014.

What type of person should be applying to this course?

The type of person we’ll be looking for, for example, is maybe a graduate who has done a fine art course or a course with more of an art focus and wants to pick up on technical skills and wants to build an understanding of the industry and how the commercial sector works.

Or alternatively, someone who wants to make a career change who might not have necessarily been involved directly with the photography industry, but who has built an ok portfolio and is keen to learn or upgrade their technical skills, learn how to put together a professional body of work and see what the industry is about. Whilst there is no set formula for the type of person who should apply, those traits are typical for someone we would look for within that course.

It’s also worth bearing in mind that on the postgraduate course we expect people to have a stronger technical grounding than we would for applicants of the graduate. On the graduate course we will teach you technical skills that you need to know.

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Work by Ray Chang, PG Dip Portfolio Development, 2014.

Can you tell us what’s unique about this course?

Well this course is unique, in as much as there are very few other establishments, certainly within the London area, offering this type of course. The private sector are offering a number of these courses, but of course what the private sector can’t offer you is the rich cultural background of LCC and the enormous library and back-up services that LCC has. So yes, there are rival courses, but most of them are limited in what they can actually offer.

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Work by Sofya Bredikhina, PG Dip Portfolio Development, 2014.

Are there any specifics in qualifications of people you’re looking to take on?

Well one of the requirements of this course is that you should have a first degree, however, we are quite prepared to look at people who might have alternative experience. If you’re a mature student because you’ve been working for a number of years, that’s another sort of option rather than actually having a degree.

Or if you have a well-developed practice, with a strong portfolio and an interest in photography then obviously we’d also look at you.  As I’ve already said, people who want to make career changes are also very important to us.


Work by Manuel Perez de Guzman Luengo, PG Dip Portfolio Development, 2014.

Where does this course sit within LCC? There are several photography courses at LCC, so what should your students be interested in specifically?

The main differences are, say if you studied an MA in photography, you would be working much more as a fine artist. You wouldn’t get any technical workshops on an MA course, and you’d be dealing mostly with conceptual and theoretical aspects of photography. Our course will give you those technical workshops that you might want alongside the conceptual side of studying.


Work by Camilla Greenwell, PG Dip Portfolio Development, 2014.

Where can this course take you?

There are still a great deal of opportunities within the photography market for working within the industry. A lot of the emerging technologies are creating new openings as well, for example in digital operating or picture researching. Certainly though, there are opportunities for graduates from this course as photographers, especially within emerging global markets like China and India, but also here in the UK.

Find out more about the Graduate Diploma in Photography

Intro/Outro: Foundation Diploma Art & Design show 2015


This year’s Foundation Diploma Art & Design show ‘Intro/Outro’ is just days away from opening – the show begins on Monday 27 April 2015, with a Private View on Tuesday 28 April. All are welcome!

Below we preview some of the student work you can look forward to seeing around the College.

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© Linnet van Veen

In ‘The Unspoken Truth’, Linnet van Veen has taken inspiration from Aboriginal art made up of abstract symbols, dots and lines, and has adapted this ancient form of creative expression for the modern world.

Linnet explored the internet and social media for symbols that represent our fixation with it, as well as its influence on us, and turned them into patterns, screen printing them over one another using vibrant colours.


© Aayushi Gupta

Aayushi Gupta’s intaglio collograph prints explore exploitation within the artificial hair industry.

Aayushi’s research led her to investigate how young girls and women in villages in Indian are emotionally manipulated to go through with the practice of tonsuring (cutting or shaving the hair as a sign of religious devotion) in order to create the raw material for hair extensions.

The resulting prints show the delicate fine lines of real hair and demonstrate how real hair is artificialised by the industry in order to satisfy its unrealistic beauty standards.

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© Eve Baer Reilly

Eve Baer Reilly has created three subversive colouring books depicting films by Stanley Kubrick, based on her research into the Stanley Kubrick Archive, held at the Archives and Special Collections Centre at LCC.

She uses the juxtaposition of adult themes and an item synonymous with children to encourage a discussion about the evolution and future of children’s entertainment, at a time when children are increasingly exposed to adult content online.

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© Laura Knott

Laura Knott’s work highlights the contrast between the poverty and violence often connected to diamond mining in central and southern Africa, and the status of diamonds as a symbol of wealth and prosperity.

Following a visit to London’s Hatton Garden, famous for its jewellery shops, Laura decided to use jewellery boxes to present 50 pointillist pencil illustrations exposing the brutality behind these ‘conflict diamonds’.

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© Marlee King

Marlee King’s ‘Bowie’s Alphabet’ is inspired by her own childhood bedroom as a David Bowie fan, and her screen prints are an eclectic mix of his most well-known characters, from Ziggy Stardust to the Thin White Duke and Jareth the Goblin King.

The alphabet itself is made up of letters found phonetically in Bowie’s music – visitors are encouraged to put the headphones on and be transported to the mind and room of a Bowie fan.

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© Babachuwe Tabase

Babachuwe Tabase’s ‘Something out of nothing’ uses letterpress to create a figurative, abstract image of his early Kaye Walker frame, which was a significant part of his life while he was struggling to overcome his disability and walk.

Babachuwe used the frame for eight years, and hung pieces of his artwork off the frame in order to completely personalise the space.

This piece is intended as a celebration of how far he has come as an individual and an art student during his Foundation course.

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© Tamara Ibrahim

‘Sponsored by Fight Club’ by Tamara Ibrahim is a collection of 30 A3 screen prints that convey the delivery of lines in David Fincher’s film Fight Club  (1999) through typography and colour.

Starting with a design for “I know this because Tyler knows this”, Tamara found that the simpler her designs were, the easier it became to depict the content of the lines typographically.

This fantastic work and that of all our other graduating Foundation students is on display in the show, which runs until Wednesday 6 May.

View the ‘Intro/Outro’ listing

Read more about Foundation Diploma Art & Design

MuirMcNeil create bespoke typeface for Summer Shows 2015


Representation of MuirMcNeil’s Summer Shows 2015 identity for LCC. © MuirMcNeil

As LCC graduates prepare to exhibit their work at Summer Shows 2015, two members of staff have been busy working on a visual identity for the shows.

Design duo MuirMcNeil have a created an original aesthetic partly inspired by their interest in exploiting the mutability of alphabetic signs. Hamish Muir is Lead Tutor BA (Hons) Graphic and Media Design and Paul McNeil is Course Leader for MA Contemporary Typographic Media.


Typographic design for School of Media and School of Design shows. © MuirMcNeil

In their bespoke visual that focuses on the architecture of typographic design, MuirMcNeil have created an identity that confronts traditional letterform.

“As graphic designers who often employ a typographic approach, information hierarchy mediated in carefully structured ways has always been central in our design work.

“There are no mysteries in the systems we use – no traditional skills, trade secrets or black arts are employed. We are not type designers in this sense but graphic designers interested in developing processes, generating forms and systems to work with” – MuirMcNeil.

With individual careers that span 30 years, MuirMcNeil continue to play with and confront traditional typefaces, while their intention to communicate to the reader, viewer or user remains the same.

Summer Shows 2015 dates //

Show 1 – School of Media: 5 – 11 June
BA (Hons) Film and Television / BA (Hons) Photography / BA (Hons) Photojournalism
BA (Hons) Sound Arts and Design – showing at Hotel Elephant
Private View: Thursday 4 June, 6–9pm

Show 2 – School of Design: 19 – 27 June
BA (Hons) Illustration and Visual Media / BA (Hons) Games Design / BA (Hons) Interior Design / BA (Hons) Surface Design / BA (Hons) Graphic and Media Design / BA (Hons) Design for Graphic Communication / BA (Hons) Digital Media Design / BA (Hons) Design for Interaction & Moving Image / BA (Hons) Animation / BA (Hons) Book Arts and Design
Private View: Thursday 18 June, 6–9pm





Bespoke Summer Shows 2015 typeface. © MuirMcNeil

Visit the LCC Summer Shows page

Review // BA (Hons) Games Design Guest Talk: Mike Bithell

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Games designer Mike Bithell talks to students about working in the industry. Image © Lewis Bush

Mike Bithell, indie games designer and creator of Thomas Was Alone, visited London College of Communication recently to give a talk to the BA (Hons) Games Design course on his experiences in the games design industry.

David King, Lecturer in Games Design, reports on the event.

We were grateful to have Mike talk for 45 minutes, covering a range of topics that provided information, hints and tips for students across all years of the course.


Image from Thomas Was Alone. © Mike Bithell

Mike started by speaking about the myth of the ‘spontaneous hit’ in indie games. We should note that the media is less likely to talk about all the unsuccessful games that came beforehand, as it makes for a less interesting narrative.

From here he explained that failure is part of the process, and not in the sense of ‘fail fast’ as a design methodology. As a designer you will make bad games, but that is acceptable. Each game you make has a better chance of being a good game.

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Students had a chance to ask questions about careers in games design. Image © Lewis Bush

Additionally, he suggested that the media and other people talking about your game will most likely help you in the long run. Give them the explicit freedom to put videos online and use images, so there is no confusion on the matter.

One final thing to take into consideration from the presentation is that everyone has a motive, so take that into account when dealing with people. Mike even admitted this of himself, as giving this talk would potentially increase the sales of his upcoming game Volume.


Image from Volume. © Mike Bithell

Mike ended the session by answering questions from the audience about current trends in the gaming market, and making your way in the games design industry.

“Good to have someone who came from a game design course and has gone on to have a career making games” – Andy Dennison, student.

“Helped put my career trajectory in perspective, lots of useful hints and tips, thumbs up” – Ryan Davis, student.

Words by David King

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