BAGD The title of this publication and the

Central eight questions around which the work

Saint is loosely organised reflect a field of
Martins study and practice ‘graphics’—in a
2016 state of flux. No longer simply the busi-
ness of making form follow function,
Kn design practice has expanded to incor-
porate design thinking, research, strat-
egy, humanitarian and service design
and so on. Studying graphics is
increasingly about developing processes

w
and methods for tackling complex
problems, diagnosing and improving
systems (or hacking them), bringing
o
n
user-friendliness or a sense of

s
humanity to an otherwise
alienating (user) experience.

a
Our publication title
and its organising ques-
tions emerged very much
in the context of this shift. The
Central Saint Martins BA Graphic
Design from which the work emanates,
is soon to be known as BA Graphic
Communication Design, signalling
that at the heart of this field, or dis-
cipline, or profession, is a concern
with how people communicate—
with each other and with
machines—through the use of
signs and symbols. In discussing
the salient themes for the book
we (a team of students and staff)
ended up with several questions
and several more keywords,
reflecting perhaps, that the cur-
rent state of affairs in graphic
communication lends itself not to
comprehensive systems or a sin-
De

gular overview but to questions

and a loose set of affinities.
Much could be said here about

ig
the eight questions we ended up
with, and this is a conversation
very much underway in the discussions
s

in classrooms, studios, libraries, blogs,

books and bars that constitute the life nisms of the televisual age like screen
of the course. The modest goal here is tests, revived as interactive
to preface this slim volume of richly animations.
creative and investigative work from
BA Graphic Design with a few contex- How do we (re)design
tual reflections.
who we are?
How does graphic com- Related to the ‘finding a voice’ question
above, this theme sheds light on the
munication (re)solve struggle against a loss of individuation,
problems? or self awareness, which has been
recently attributed to aspects of con-
It used to be said that design is about
temporary culture, be it the impact of
‘problem solving’. Then it became
attention-fracturing technologies or
apparent that some problems aren’t
the effects of a globalised commerce.3
ever really solved, but they can be
Projects here include filmic dramatisa-
responded to. Some of these sorts of
tions of the letters of recovering addicts
problems are tackled (not solved) in the
and another documenting the role of
work here: Homelessness, social hous-
women working in a patriarchal world.
ing, the systematic failure of the US
education system. To paraphrase Horst
Rittel1, defining the problem is the
Is technology leading us
problem. And to paraphrase Bruno to utopia or dystopia?
Latour2, to design is never really to
The topic of countless films and novels,
design from scratch, but always to
the utopia/dystopia question is found
redesign what is already in existence.
lurking behind a number of projects in
Put practically, designers are increas-
the book. One draws attention to the
ingly engaged in addressing recurring
physical impact of the internet, par-
problems that require new ways of
ticularly so-called cloud computing
looking at them.
which, while suggesting a utopic, dema-
terialised space of infinite possibility,
How do we find a voice in in fact has a very material legacy in its
a commercial world? infrastructure of server farms and
underwater cabling: 10 billion emails
If New York graffiti artists are com-
have been calculated to create the same
missioned to paint walls for advertis-
carbon emmissions as 40,000 return
ing campaigns, are they finding a voice
flights from London to New York.
in a commercial world or victims of
Another project explores the inherent
the voracious appetite of commerce,
ambivalence around artificial intelli-
ever hungry for a new ‘style’ to exploit
gence. While the myth of better living
and then expel? These sorts of issues
through technology still pervades con-
are explored under this question, along
temporary imaginaries, these projects
with those projects that use visual
ask of the technology: who is it for?
communication to give a voice to things
that have been silenced by the commer-
cial word: unpaid workers in Japan, for
example, or even forgotten anachro-
 How do we (re)material-
ise culture?
With this question we come back to the
founding principles of the Central
School, established by W R Lethaby in
1896 to counter the effects of mechani-
zation and poor quality machine-made
goods by infusing industry with arti-
sanship. In an age in which theoreti-
cally anyone can download the
software and online tutorials to
become a designer, and in which the
representation precedes the real (to
paraphrase Jean Baudrillard,) works
that seek to slow down productivity
with craft and artisanship have gained
a new value. The act of creating a dry
point of a disused industrial structure,
for example, seems to counter industri-
alism’s imperatives of speed and effi-
ciency with a slow, painstaking method
of reproduction, creating space for con-
templation and recalling Tomas Mal-
donado’s reflection on design’s
obsession with being useful: ‘It is diffi-
cult to prevent the useful from laying
waste to the world.’4
What is wrong with
design/society?
Under this theme, the investigative and
persuasive role of graphic communica-
tion comes to the fore, drawing atten-
tion to the complexity of social, political
and environmental problems: a publi-
cation documenting the improvisatory
culture of squatters in the context of
Britain’s housing crisis. Or projects
that challenge conventional wisdom
that such issues are beyond the juris-
diction of graphic communication and
focus on the perpetuation of stereo-
types in graphic communication: here
we see a number of stereotypes under
scrutiny: Asian women in Western
screen media; singular representations
of beauty; and the media aversion to
fat, hairy and flatulent bodies.
How is reality formed by
narratives?
The discussion around narratives
starts from the commonsensical but
often forgotten point that creative writ-
ers, illustrators and designers are con-
stantly disseminating new fictions that
influence and perpetuate the way peo-
ple perceive reality. This idea becomes
philosophically intriguing when it
extends to perceptual psychology and
the theory5 that humans are continu-
ally engaged in ‘making up’ the world
by processing and labelling sense
impressions with language. The
homogenizing impact of Google on our
perception of the built environment is
creatively re-interpreted along with the
power of the fictions perpetuated in
and by the figure of Donald Trump.
Should design impose
order or chaos?
The final question is something of a
provocation, juxtaposing two rationales
for design in order to draw attention to a
current concern with systems thinking:
is design the ‘conscious effort to impose
meaningful order’6 or is design better
conceived as contributing to emergent or
chaotic systems? The question applies to
all aspects of design from city planning
to coding to branding and identity, where
a move away from strict standards
manuals toward frameworks is argua-
bly a reflection of computational think-
ing. In this area, projects include a
dimensional mapping of improvised
solos in jazz and a photographic series
finding correspondences between
micro and macro planes of existence.
Other projects play with systems for
ordering books and measuring time,
questioning orthodoxies and leaving us
with yet more unanswered questions:
Have the systems we invented in the
mechanical age outgrown their useful-
ness? To what extent do our tools shape
us? How might we redesign the way we
catalogue, measure and see?

References
1 Rittel, H. & Webber, M. 1973. ‘Dilemmas in a
general theory of planning.’ Policy Sciences 4,
pp.155-169
2 Latour, B., 2008. ‘A cautious Prometheus? A few
steps toward a philosophy of design (with
special attention to Peter Sloterdijk)’, Keynote
Lecture for the Networks of Design meeting of
the Design History Society Falmouth, Cornwall,
3 September 2008.
3 Stiegler, B., 2008. Technics and time: Disorien-
tation. Stanford, CA: Stanford University
Press.
4 Maldonado, T., 1991. ‘Looking back at Ulm’ in
Lindinger, H. 1991, Ulm design: The morality of
objects. Cambridge, MA: MIT Press.
5 Winnicott, D.W., 1971. Playing and reality.
Hove: Psychology Press.
6 Papanek, V., & Fuller, R. B., 1972. Design for the
real world. London: Thames & Hudson.
Central Saint Martins
BA Graphic Design
Class of 2016

b
Olga Bagaeva
olga.notgraphic@gmail.com

c
notgraphic.design

Jun Woo Bak

Alice Caiado Ribeiro jwbak94@gmail.com
alicecaiadoribeiro@gmail.com creativebak.myportfolio.com
a
alicecaiado.com

d
Rebecca Bartola
Therese Cappelen rebeccabartola@gmail.com Harry Adams
hello@theresecappelen.com rebeccabartola.com hazzadams@hotmail.co.uk
Connor Daly theresecappelen.com amcreative.myportfolio.com
connor_daly@live.co.uk Paulina Bastos
connor-daly.com Olga Carpenco paulinabas94@gmail.com Agata Adamska
olga.carpenco@gmail.com bas-paulina.tumblr.com aaagata.adamska@gmail.com
AT Dam olgacarpenco.com agataadamska.com
kokuyachan@yahoo.com Ralph Bayntun-Roberts
behance.com/damanhthu Navjot Singh Chana ralph.colours@gmail.com Ajatshatru Ajatshatru
navjotchanadesign@outlook.com ralphroberts.co.uk ajatshatru8@gmail.com
Yuemeng Dang cargocollective.com/navjotchanadesign
amyyuemengdang@gmail.com Theo Bernard Taymah Anderson
amydang.com Amy Chau bernard_theo74@hotmail.fr taymah.anderson@gmail.com
achau893@gmail.com theobernard.com taymah.com
Jordan DeVos
jordandevos@outlook.com Fly Chen Gaëtan Bernede Lara Arafeh
jordan-devos.com chenxiangfei321@gmail.com contact@gaetanbernede.co.uk lara.arafeh@gmail.com
flychenart.com gaetanbernede.co.uk lara-arafeh.com
Mario Deiana
mddesignlondon@gmail.com Amy Chen Alice Bibette Eliko Arimoto
mddesign.london amychen.2010@hotmail.com contact@alicebibette.com eliko.arimoto@gmail.com
alicebibette.com
Angele Delajoux Mia Che Harry Ashbee
delajoux.angele@gmail.com m@miache.org Douglas Birch harryashbee@me.com
angiepower.co miache.org d.birch2@arts.ac.uk harryashbee.co.uk
Henry Duprey Su Choi Masha Boldyreva
henryduprey@gmail.com s.choi@hotmail.com mashabold@yandex.ru
henrygeorgeduprey.tumblr.com cargocollective.com/sujungchoi behance.net/mashabold

Louise Dyhrfort Amanda Hui Choy Olga Branovitskaya

louise.dyhrfort@gmail.com amandachoy498@gmail.com o.branovitskaya1@arts.ac.uk

ef
louisedyhrfort.com amandachoy.com
Chiara Broggi
Chu Chu cc.broggi@gmail.com
chuchu941102@gmail.com chiccabros.com Yasmine Ellis
cargocollective.com/ yasmineellis68@yahoo.com
chuchu941102
Amy Elms
Jess Cole a.elms@hotmail.com
cole.jess22@gmail.com amyelms.com
jesskohl.com
Tatiana Ermolaeva

l
Melanie Cottenie 11ermolaevat.s@gmail.com
melaniecottenie@hotmail.com ermolaeva.co
melaniecottenie.com
Katie Lambe Ke Fan

ghj
katie.lambe@gmail.com Georgia Cranstoun k.fan116@hotmail.com
katielambe.com georgcran@gmail.com
georgecranstoun.com Hortense Franc
Rebecca Lardeur Jūratė Gačionytė
hfranc@btinternet.com
r.lardeur@gmail.com John Cubillan jurate.gacionyte@gmail.com
hortensefranc.com
rbk.graphics johncubillan@hotmail.com jurategacionyte.com
johncubillan.co.uk Benjamin Franklin
Yuk Lee Neil Hampshire mr.benfranklin@hotmail.com
y.lee21@arts.ac.uk neil.hampshire@hotmail.com benjaminfranklin.work
neilhampshire.tumblr.com/
Angelica Lena Satoko Furusawa
angelica.lena@me.com Takashirou Hata satoko0808f@gmail.com
cargocollective.com/angelicalena taka.w.hata@gmail.com behance.net/satokyo
cargocollective.com/taka_hata
Frankie Leung
contact@frankieleung.com Soong Her

k
frankieleung.com soong0714@hotmail.com

Leshan Li Lars Høie

info@lileshan.com Ryan Kailla larshoie@gmail.com
m

lileshan.com r.kailla1@arts.ac.uk larshoie.com

Elky Li Stephanie Kaiser Teresa Eun Joung Hong Elisa Mantovani

elkyli@gmail.com stephaniekaiser@live.hk teresahong@live.com mantovani.elisa@hotmail.com
elkyli.com resiakdesigns.com teresahongg.tumblr.com elisamantovani.com

Kenneth Lim Vorathap Kiathapkajon Mika Hosono Stelios Markou Ilchuk

limzy.kenneth@gmail.com mic_ju@live.com mika@mikahosono.com steliosilchouk@hotmail.com
designerken.be/designing behance.net/mickyju mikahosono.com cargocollective.com/steliosilchouk
Eliza Loh Chloe Kim
lohhuijuneliza@gmail.com serendipityxyk@gmail.com
cargocollective.com/elizal cargocollective.com/chloekim
Milan London Annemarieke Kloosterhof
m.london1@arts.ac.uk annemarieke48@hotmail.com
annemariekekloosterhof.com
Louisa Luk
l.luk1@arts.ac.uk Kezia Kong
behance.net/louisaluk keziakong@gmail.com
keziakong.com
Kateryna Kosinkova
kotikhina11@gmail.com
behance.net/katerynakot
Claire Köster
r
hello@clairekoster.com
clairekoster.com
Emilien Rabin
Koto Kurasawa
emilienrabin@gmail.com
kotikhina11@gmail.com
behance.net/katerynakot
Adnan Rehman Ali
hello@adnanali.uk
Jasmine Kurino
adnanali.uk jasminekurino@gmail.com
cargocollective.com/jkurino
Nikki Ritmeijer
nikkiritmeijer@gmail.com
Michal Kuzmierkiewicz
nikkiritmeijer.com
michalkuz@hotmail.co.uk
Liisa Roll
liisa.roll@gmail.com
liisaroll.com
Sophie Rush
sophie.rush@hotmail.com
sophierush.com
p
Jasmine Parker
jasmine.parker@hotmail.co.uk
jasmineparker.co.uk
Lawrence Pearson
lawrencejaypearson@gmail.com
lawrencejart.com
Raymond Hui
hui.raymond@hotmail.com
huipaklam.com
Reggie Hung
tachunhung1019@gmail.com
Atikhun Jansanjai
atikhunbed@gmail.com
atikhunjansanjai.com
Barnaby Pau Jury Morgan
contact@barneypau.com
barneypau.com
no
Anh Nguyen
ng.nganh93@gmail.com
anhnguyengraphic.com
Khoa Nguyen
k.nguyen3008@gmail.com
khoanguyen.co.uk
Hannah Nightingale
hannah@4pixels.com
hannahnightingale.com
Amalie O’Neill
amalieoneill@gmail.com
amalieoneill.com
Katie Opländer
katie.oplaender@gmail.com
katieoplaender.com
Saiko Otake
sxxxo89@gmail.com
cargocollective.com/saikootake
Giulia Mazzucconi
hello@giuliamazzucconi.com
giuliamazzucconi.com
Kerry McGranaghan
kerry_mcgranaghan@hotmail.co.uk
kerrymcgranaghan.com
Yildiz Memisoglu
y.memisoglu1@arts.ac.uk
Sebastien Mertens
smertens81@hotmail.fr
amcreative.myportfolio.com
Clara Metter
clarametter@gmail.com
clara-metter.com
Iara Monaco
iaramonaco@gmail.com
iaramonaco.com
Tomoko Monno
t.monno1@arts.ac.uk
behance.net/tomokomonno
Odira Morewabone
odiramorewabone@gmail.com
matatuism.com
Freya Morgan
freyacmorgan@gmail.com
freya-morgan.com
Alisa Moshkunova
amoshkk@gmail.com
alisabats.com
Jaehyun Myung
allergictodust1@hotmail.com
cargocollective.com/tamtelion
 Fangdi Pei
ninety45@yahoo.com
cargocollective.com/ninety45
Sarina Pornnimit
s.pornnimit@gmail.com
maaew.com
Natalie Preston Emily Schofield
xyz
natppreston@gmail.com
nataliepreston.com
Luying Xu
sallie_xu@yahoo.com
luyingxu.com
Jessica Yeung
ninety45@yahoo.com
cargocollective.com/ninety45
w
Wan Yuhainis
d.wu1@arts.ac.uk
Melissa Zee Hattie Wade
hello@melissazee.net hattiewade.design@icloud.com
melissazee.net hattiewade.com
Varvara Zelenko Luqitiao Wang
zelenk.o@inbox.ru qitiaobonniew@gmail.com
zelen.co wangluqitiao.com
Yanan Zhang Sandy Wang
yananzhangll@gmail.com hello@fartsforart.com
fartsforart.com
Xinxin Zheng
x.zheng2@arts.ac.uk Yangzi Wang
wangyangzi@msn.com
behance.net/wangyangzi
Amber Weerasinghe
amber.weerasinghe@icloud.com
amberweerasinghe.com
Carina Stolt-Nielsen Wikborg Philippine Sohet
carinasnw@me.com
carinasnw.com
Adam Willis
adamwillis321@gmail.com
adam-willis.co.uk
s
t
emily_schofield@hotmail.de
emilyschofield.de
Natalie Schroeter
Aki Takano natalieschroeter@yahoo.co.uk
a.takano1@arts.ac.uk natalieschroeter.wix.com/natalie
Kyoko Takemura Yuli Serfaty
takemurakyoko@gmail.com yuli@yuliserfaty.com
kyokotakemura.com yuliserfaty.com
Selin Tamer Yuk Lam Giann Shih
selintamer93@gmail.com giann.shih@gmail.com
cargocollective.com/selintamer giannshih.com
Chin Tan Cristian Silva Reascos
hello@heychin.com c.silvareascos1@arts.ac.uk
heychin.com
Benjamin Sing
Gautam Tankaria benjameann@gmail.com
drawingyt@gmail.com benjamean.com
cargocollective.com/tankaria
Adhiraj Singh
Agnese Taurina adhiraj.singh11@gmail.com
sagagraphic@gmail.com adhirajsingh.com
cargocollective/agnesetaurina
Jack Smith
Aisha Tijani jsmithdesign@outlook.com
aishatijani95@gmail.com jsmithcreative.co.uk
cargocollective.com/ATijani
Joshua Smith
Wen Yi Tseng jjsmithdesign1994@gmail.com
wenyigraphicillustration@gmail.com behance.net/joshuajsmith
wenyigraphicillustration.com
Nicolee Tsin philippinesohet@yahoo.com
nicoleetsin@gmail.com philippinesohet.com
nicoleetsin.com
Sean Song
Zeynep Turkmen seansong93@gmail.com
z.turkmen1@arts.ac.uk watchxchange.london
Justyna Woloszuk Eftal Soral
j.woloszuk1@arts.ac.uk Eftal.soral@yahoo.co.uk

Jordan Woodage Felix Steindl

jordanwoodage@gmail.com info@felixsteindl.com
jordanwoodage.com felixsteindl.com

Emma Woodland Xueyan Sun

woody@emmawoodland.com sunxy0315@gmail.com
emmawoodland.com
Shannon Swinburn
Di Wu shannon.swinburn@gmail.com
d.wu1@arts.ac.uk shannonswinburn.com

Vanessa Wu
puisangwu@yahoo.com.hk
vanessapswu.com

How does graphic

communication
 ­ olve problems
(re) s
Squatting and Social
Housing in London
Elisa Mantovani

Britain is in the throes of a serious housing

crisis. As council buildings are stripped
away to make room for luxury properties,
residents are finding themselves alienated
in their own communities. The media
often depict squatting as a criminal
way of living. This publication reveals the
efforts squatters go through to create
homes for themselves.
RE
V
E A LING

S
M
 PROBL
Syrian Chess
Joshua Smith

This project seeks to combat the

problem of sensationalism in the news
by bringing conflicts down to a more
understandable level. I found that it is
hard to empathise with a subject when
you don’t understand it, so I hope to
set people straight on the sequence of
events that led to the proxy war in Syria.

A Call for Nuance

Jordan DeVos

The American education system features

a one-size-fits all approach to measuring
a student’s growth and development.
This book challenges the broken system
by visualising observations, asking
questions, and posing solutions. It is
a contribution to a larger conversation
about understanding the individual
instead of measuring the masses.
 EXPE

R
IENTI A
L

Slow Gratification
Philippine Sohet

A mobile workshop that brings a moment

of mindfulness and creativity to public
space. A cart invites passers-by to create
a personal print reflecting what they
truly value. The outcome is a unique
combination of shapes which one can
be proud of and look back on.

PRO

BL
EM
 An Interstellar Rosetta Stone
Theo Bernard

We are a generation that has come too late to explore and

discover new continents and we might have come too early
to travel to new worlds. But with the technology and science
we possess today, we are getting close to knowing what
really lies beyond our solar system. Now, we can indeed
seriously consider exploring and researching the inter-
stellar space for the first time in our history. So how do we
construct a message readable by any mind, understandable
by any extraterrestrial?
Designing an ‘Interstellar Rosetta Stone’ seems to be the best
solution. A key piece, a system explaining how to comprehend
our language and the dimension we evolved in, appears to
be the most appropriate answer. With the technology we
possess now, we would be able to send an incredible amount
of information about humans in a relatively light and small
device. The ‘Interstellar Rosetta Stone’ would resolve the
issue of language, assuming the extra-terrestrial being is
intelligent enough to find the patterns in the information sent
and to arrive at some sort of conclusions about the beings that
sent it. And, supposedly, the more information they have to
work with, the easier it may be for intelligent aliens to find
patterns and learn about our nature, culture and societies.
We can imagine a new type of ‘Golden Record,’ containing
zettabytes of information, a copy of the Google servers, our
encyclopaedias, history books, movies and music. Attached to
it, a multichannel message instead of binary information to
allow for a pluralism of ideas and approaches. Additionally,
M- with today’s interconnected society, we can engage the public
through events that support the message’s construction
SO I N

around the world. Engage the poetic imagination and creativity

of people to encourage collaboration and a non-exclusive,
LV

pluralist message with wide global participation.

G
(Extract from BAGD dissertation.)
G
M-
SO I N
LV

The Zika Awareness and

Prevention Package
Stephanie Kaiser

This project is designed to increase

awareness about Zika virus protection.
Including a screenprinted mosquito net
and an essential guide, the kit aims to
provide a positive impact in times of need.

ice in How do we find a v

? a commercial worl
82 Years of Testing Screens
Felix Steindl

Television test cards and patterns

are broadcast when the transmitter
is active but no program is being
broadcast. With this interactive
installation, I wanted to convey
the basics of electronic screens/
communication in an intuitive, playful
and interactive environment. The
audience can use a wireless remote
control to change the parameters of
several real time animated visuals
representing testing elements such
as alignment, colour, frequency,
and typography.

OM Y
N
AU TO
 Dying to Work
Aki Takano
IP
H In response to my long-lasting concern
about Japanese overworking issues
including unpaid labour and death, this
project protests against the silence amongst
employees who choose to obey what they
have been told.

HORS
T
AU

Works 1980–1988
Lars Høie

A performative lecture about plagiarism/appropriation

as creative process. The narrative is told through a
fictional Czech–Vietnamese appropriation artist from
the 1980s.
 CO

M
M ER
C
E

Walls of Williamsburg
Ralph Bayntun-Roberts

An exploration into the controversy surrounding

the advertisements being painted on the walls
of Williamsburg in Brooklyn, New York, where
renowned street art murals are being covered
with advertisements, including the replacement
of a memorial portrait of Nelson Mandela with
a Perrier advert.
 IDEN

TI
TY

Matatuism
Odira Morewabone

The aim of this project was to explore the

subcultural creative workspace of Nairobi’s
Matatu industry. I was trying to show and
tell a different story of Africa; an Africa
of creative, ‘cool’ and enterprising young
people who live by an ethos of ‘doing things
their way and operating by their own rules’.

How do we (re)­
 design who we are?

Perspectrum
Koto Kurasawa & Takashirou Hata

This project explores the way humans

perceive things in the world and the impact
of our perception on the decisions or
judgements we make. The headpiece enables
us to see things from different perspective.
 Backbone
Giulia Mazzucconi

A short documentary about my nonna, the

backbone of my family and its restaurant.
‘They say behind every great man there’s
a great woman. I say behind a great man
there’s no woman. She is beside him and
with him, if not ahead.’

A Short Ballade to Soviet Modernism

Agnese Taurina

This booklet is about a relationship with Soviet

aesthetics during a childhood in 1990s Latvia.
The author celebrates a shift in her taste
and shows how a sense of disgust can turn
into appreciation.
BI
O GR
 R
A
PH
Y

GEN
D
ER

Bedtime Stories
Louisa Luk

Created in response to a brief about silence,

this project explores sleeping routines in a
modern world full of distractions. By visually
interpreting people’s responses, it sheds a
personal and playful light onto various quirky
and unique habits. An online platform is in
development. (Instagram: z_bedtime_stories)
 H
BE AV

IO
UR

The Battle Inside

Carina Stolt-Nielsen Wikborg

Based on letters by ten recovering

addicts, this film expresses inner conflict
and is a binaural experience, designed
to explore the audience’s own thought
journey and emotional response.

N THR

OP
OLO
G
Y
 Sounds/Colours
Saiko Otake

This zine is a photo-documentation

about an artist’s vinyl collection and his
painting studio. Sounds are intertwined
with colours representing his spirit.

The Book of Hello

Amy Chau

Everyone has an accent. And though we

may not think that we do, we somehow
pick up on these accents from the
people around us. This book explores
the phonetics of the word ‘hello’ from
different accents around the world.
 Gay Identity
Barney Pau Jury Morgan

A series of three images and a short film

detailing my response to the narrative,
rhythm and mood of a poem written by
Marco Bajjali (an MA menswear student
at the RCA) using the clothing he
designed in response to his poetry.
The film can be found on my website.

U RES
LT
SU
BCU
Is technology
leading us to utopia
C T ED LI
F
E
E

or dystopia? C ON N

The Sense of a Place

Alice Bibette

An immersive space where the audience discovers

Beirut by wandering around, going through specific
locations and listening to building stories. This
project embraces the fact that Beirut is as damaged
as it is beautiful. The viewer navigates the city on
an iPad, using it as an open window showing the
way to an alternative world, a place that heals itself
through space regeneration after a difficult past.
 S PE C U L
AT
I V E

Selective Memory
Jasmine Parker

This animation is an open-ended and ongoing

exploration of our shifting relationship with
DESIGN

replicas, in light of the destruction of ancient

historical sites across Syria—such as the
Temple of Bel in Palmyra—and their digital and
physical resurrection, thanks to advancements
in 3D rendering and mapping technologies.
Clean our Cloud
Raymond Hui

A campaign that aims to raise awareness of

the negative consequences generated from
our actions online by narrowing the gap
between what we know and what we actually
understand about the internet.

The Sky When I was Born

Olga Carpenco & Tatiana Ermolaeva

A speculative exhibition proposal for

a museum of the future, this project
deals with the abundance of CCTV
recordings and their place in our lives
in 2055, blurring the borders between
human and technological memory.
(mnemoseum.com)

INT

E
RN ET
 N
IO OC IET

AT
S

INFORM
SAVE the Internet
Melissa Zee

The Internet is a deceitful online

platform, hiding behind the idea of
doing good for the Internet. Only
after completing the transaction,
do visitors to the site realise that
they have been deceived and that
‘SAVE’; actually stands for ‘Support
Abusive Virtual Existence’. Users are
presented with a receipt for their
data, a physical reminder that they
should be cautious online, as nothing
really comes free.
The Future of Crafts
Therese Cappelen

Perceptions of the craftsman in relation to industry, tech­

nology and therefore modernity, have been too black and
white. William Morris was not trying to ‘stop the clock’;
rather, he simply resisted the non-egalitarian threat posed
by mechanisation. Although Morris’s view on craft reflects
pre-20th century Western attitudes, his influence over craft
revivals like the Arts & Crafts Movement continued to cast
a shadow over crafts definition up till this day. Analysing
Morris’s opinion in relation to the politics of his time is
necessary and allows us, as critics in craft, to abandon a
widespread misconception of craft as an artefact of the past,
making room for an evolution of craft theory.
In The Invention of Craft (2010), Glen Adamson suggests
that this misconception proved dangerous to craftsmen. He
argues that after the Industrial Revolution skill was not
lost; skills were even higher in 1850 than in 1750. Adamson
argues that, in fearing an impending loss of skills, Morris
and The Arts & Crafts Movement ignored all the skill that
went into building the ‘new technology’, as well as the skills
needed the create bridges and tailoring, etc.
By restricting the definition of a craftsman, they in­
advertently limited the number of practising craftspeople.
In neglecting to consider digital craftspeople, we risk
committing the same mistake as the Arts & Crafts Movement
in their opposition to industry. We must consider the skills or
the ‘craft’ of those who write the programmes, as we would,
those craftspeople who produce material, tangible products.

(Extract from BAGD dissertation.)

How do we
T
TR A DI

EC
TI

HN I U ES
(re)materialise Q
O
NA
L
culture?
Photoshop Paintbrush
Claire Köster

This project looks at the translation of the

paintbrush into an ever-expanding set of
digital brushes that far surpass the capability
of the analogue version. In an attempt to
translate the Photoshop paintbrush back into
an analogue one, I created a set of tools that
emulate the function of the digital utensils.
OL D

M
ED I A
The Conflict
Yuli Serfaty & Lara Arafeh

This project documents a conversation

between Lara, a Palestinian, and Yuli, an
Israeli, both attending BA Graphics at CSM.
In their talks they have learnt about
each other’s views and upbringing, their
differences and similarities. The delicate
process unveiled a new understanding of
how they define and build their identities
in a place so different from home.
 HI
Das Ruhrgebiet
Katie Opländer

A RC
This project documents the landscape of

H
Germany’s largest industrial area, called
the Ruhrgebiet. The industrial structures
remaining stand as cultural monuments
EO
to the heritage of this area. They are a
symbol of change, the rise and fall of
LOGY
The Moon
Luqitiao Wang industrialisation, and the pride and hard
working mentality that came with it.
This is an animation project,
bringing traditional Chinese art into
a contemporary form. The idea is to
animate a still illustration piece,
starting with a plate decoration.
Cundall
Benjamin Franklin

A book cataloguing discarded letters, photographs

and various other documents discovered by a family
on purchasing their new house. The documents
follow the lives of the Cundall family and the home
they shared for over 100 years. The book preserves
otherwise-forgotten memories and presents them
in a way that can be observed and enjoyed from an
outside perspective.
OBS
O

T
E
LE

C
TE

HNO

LO
GY
 R ET

Phoenicia
RO
Rebecca Bartola

An alternate reality for written English based

on the construction and evolution of Chinese
writing, this font and type specimen displays
a selection of English words as pictographic
monograms. The words were chosen from the
original meanings of the Phoenician alphabet,
the precursor to the Latin alphabet and the
descendent of Egyptian hieroglyphics.

Allotment
Mario Deiana

This portraiture brief showcases the

Edmonton allotment community in
documentary photographs of people
tending to their plots.
 EX
P

ER IENTI A
L
Paradoxical Objects
Therese Cappelen

Physical metaphors are commonly

used to create familiarity within the
digital sphere. The project plays
with the gesture of reversing this
action, an intentionally impossible
translation. The aim was to
challenge our preconceptions
about the digital world and dissolve
the immateriality attached.
The Orient
Lara Arafeh

In a Kingdom that likes to keep a strong hold on all aspects

of society, it’s no surprise that governments would like their
art to be safe and artists even safer. Conservative countries
have cultural sensitivities about representing or depicting the
human body. With modern technology, as well as festivals,
education and inspiration being easily accessible, a new
generation of artists is developing and pushing Saudi Arabia
into the contemporary art world. ‘Being a woman in Saudi
may be really restricting, but being a female Saudi artist is
very good at the moment.’ (Abu Abdullah, 2012).
Works tackling controversial issues like the inequality of
the sexes, the redevelopment of Mecca, the impact Islam has
on the peace process, are fighting against limitations. Saudi
Arabia’s once private and unknown social and political life is
now generating an international audience, and record prices.
Art records history, and allowing the world to see what goes
on behind the closed doors of Saudi Arabia is one of the great
powers of art and it gives those who were blinded by the
governments reason to speak out. The government is aware
of that, and they respond to the emerging conceptual art
scene by promoting conservative artists. But today, people are
not interested in a ‘pretty’ picture. They want the truth, not a
false representation of what people should believe.

(Extract from BAGD dissertation.)

 What is wrong wit
design/society?

The Trump Archives

CU
Hattie Wade
R

A series of The New York Times

R

front pages from the future.

Branching from Donald Trump’s
inauguration to the inevitable
fall of America, these headlines
and articles examine what would
actually happen if Trump were
ENT A

elected President. FF
A IRS

OL
 LI T IC
Artemis at the Gynaecologist
S
Louise Dyhrfort

This maquette is a modern

depiction of Artemis, the greek
Goddess of hunting and chastity,
inspired by the myth about her
and the young huntsman Aktion.

AY
PL
 Asian Women Stereotypes
Satoko Furasawa

Stereotypical opinions about Asian

women can be offensive and harassing.
The project aims to raise awareness
of the issue by examining these
stereotypes and analysing their origins.

Personal Space Invaders

Kezia Kong & Benjamin Sing

This interactive exhibition piece

QU

I
invites the audience to take control
NE A
L

of a CCTV camera via an arcade

I

console. By allowing them to

become the watcher instead of the
watched, aims to help participants
TY

question and evaluate their

stance on public surveillance.
Femininity Zines
Paulina Bastos

Old school feminist zines about

the portrayal of women’s bodies.
One is about fat girls, showing how
beautiful they are by portraying
them without mocking their size. FEM
Another focuses on how we shame I
girls for doing things that are not
N

considered ‘girl stuff’, but which

I

literally every human does, such as

farting, having body hair, etc.
SM
Office Fetishism
Harry Ashbee

A sculptural portrait of the

fetishisation and patronisation
of women in the workplace.
A set of four surrealist patent
black shoes with functional
office supplies in the heels.

PROB

LE
M
The Absurdity of Beauty

NG
Sean Song

LI
This piece of work aims to highlight the irony
and vicious cycle of the cosmeceutical industry.
Inciting anxiety within the public to meet impos-
RE A
sible beauty standards, the industry subsequently
VE
sells products claiming to help reach that standard.
What results is insecurity, as we constantly buy
and use more and more beauty products, further
damaging ourselves in the process.
 LA N

G
G
UA E
How is reality
P_G__N
Nikki Ritmeijer
formed by
Taking old manuscripts as inspiration,
this project aims to bring mystery back
into the mundaneness of everyday life
and point out the value of imagination
and magical thinking. It explores how
narratives?
people respond to things they don’t
understand, and how confusion can
create interesting narratives. The aim
is not to offer people the narrative itself,
but the mystical ingredients to create
a narrative of their own.
Bron/Broen
Emily Schofield

This project translates the system and

essence of a television show into the
system of a book. At the heart of it
lies the dichotomy between a dry and
humorous dialogue and a dark and
twisted plot, as well as the encounter
of two very different characters.
 FICT
I

ON

Nowhere in Particular
Jūratė Gačionytė & Georgia Cranstoun

We asked the question: what if a

physical place had the characteristics
of Google Street View? What would
it feel and look like? The result is an
Afraid of the Dark
exhibition of speculative artefacts
Agata Adamski
from this imagined place.
Afraid of the dark? It is actually a fear of
the night! This hand-made illustrated book
focuses on analysing and investigating
my personal fears through a journey of my
imaginings, illusions, nightmares–things
I am afraid the most: night fears.

AGE
T
EPOR
Brink
Jasmine Kurino

A zine created for a fictional artist’s

exhibition, based around an imaginary
subculture called the ‘Skatelitas’, a
merge of Skateboarding culture and
Lolitas. Brink explores issues around
identity, particularly around the early
formative teenage years.
I hope this year is as kind to
you as you are to me
Neil Hampshire

A semi-autobiographical comic exploring

the thoughts and remembrances of a soon-
to-be graduate as many of his memories are
triggered by conversations and events at a
New Year’s Eve celebration.

The Human Researchers

Adam Wills & Connor Daly

Proposal for an animated satirical video

series following four invisible aliens as
they give comedic social commentary on
all aspects of human behaviour.
M EM

O
RY
Distorting Reality
Alice Bibette

I thought about the dissertation design as a space in itself

but also a space with a function which is to describe and
explain some aspects of space distortion. Maps are the most
straightforward way to describe space. Therefore, I wanted
to give to the viewer the notion of scale, by deploying a
humongous A0 poster folded to A4 size. At first, the A4 look
might give a sense of surprise as as you might not intend to
open something that big. In fact you’ll discover little by little
the cover, then the Introduction etc. As a viewer you are free
to look where you want and find your way between different
kinds of spaces: natural, urban or digital. The more the
map gets unfolded, the more you discover. Consequently, the
legibility of the document gets affected. In response to that,
I have magnified the content’s scale.
When the limits of live action have been reached to
communicate an idea, moving image can take its place
and play an illusionist role. Animation has always been
here, humankind has always been fascinated by illusions
(Fantasmagoria). Drawing on caves, playing with shadows
and lights, experimenting with scratching onto films or
video mapping the whole Sydney Opera House every year,
comes from the same need to echo the natural environment.
The natural environment is where we started thus that’s
where our first sources of inspirations have been taken from.
We’ll constantly relate to nature to express our feelings.

(Extract from BAGD dissertation.)

ose Should design im
order or chaos?

Breadniverse/Time
Freya Morgan

An illustrated dialogue centring on the

notion of chronological time and its
dominance over human life. Maybe we
have been looking at the passing of time
in the wrong way; maybe time has never
been passing at all.
 NG
KI
C

HA

8-bit Keyboard
Kenneth Lim

To a computer, everything is represented

in 1s and 0s, including images and text.
This is a keyboard where you have to
type with eight buttons with each button
representing 1 or 0 making up the eight
1s and 0s that will create a character.
O
St Louis Blues
A
Jordan Woodage
CH
An investigation into mapping improvisa-
tion in jazz music and its relationship to
the original version of a song. I mapped
different versions of the same song,
DI D
St Louis Blues, focusing on variations
A

in overall musical structure, rhythm and

pitch. This mapping uncovered referenc-
C

es to the original melody within impro-

vised solos, and the use of a common
musical structure.
TIC

G
IN
HI NK
SYS
 ST
A Poor Workman Blames his Tools
Navjot Chana
C EM
What if drawing tools hindered instead
ATI
of aiding us in the mark-making process?
This project explores the possibilities of
disruptive mark-making devices and how
subverting their intended purposes can
lead to unexpected results.

As Above so Below
Stelios Ilchuck

A series of three experimental videos

and photographs referring to the
Hermetic Law of Correspondence, this

S EN
project explores the fact that there is
a direct correlation between the laws
SE
and phenomena of the various planes of
existence. Patterns tend to reiterate and
persist at all levels of observation, and
this work aims to provide glimpses into
worlds that question their scale.
 SYST
EM
S

New Weave
Shannon Swinburn

This project repurposes traditional

textile techniques to discover unexpect-
ed interdisciplinary juxtapositions. By
applying traditional weaving patterns
to music a new way of forming songs is
created, giving a materiality to a complex
digital process. Each weaving pattern
creates a different rhythm in the music
and its visual counterpart.

PERC E
PT ION
 The Pink Book of Pink Books
Sophie Rush

An investigation into all of the pink books

in the library in hope to reveal links be-
tween what the colour pink is associated
with, what the books were about and
who wrote them, to see if they fit the ste-
reotype of the colour pink.

Self-clock
Varvara Zelenko

The way we measure time today has

a long history, but does that mean that
initially there were no rules about how
to measure time? In this project I re-
moved everything that tells the time
and then documented my perception
of each 10 minute interval.
Logic and Feeling in Maps
Jūratė Gačionytė

My interest in maps has increased since I have lived in places

away from my home country. This particular theme of logic
and feeling in maps developed largely from observation of my
personal daily use of maps and the sense that this use was
too far removed from my experience of the environment that
the maps were supposed to represent.
No map can be free from individual imagination and
subjectivity. Logically, and philosophically, no map can be a true
representation of place. No matter how scientifically accurate
maps attempt to be, there is no such thing as an objective
truth, or in the words of Danny Dorling

There is no such thing as a neutral map. And you’re

kidding yourself if you think that you are a neutral
cartographer. (Dorling, 2010)

Every map fails as a representation, however if we take maps

as propositions, they are all valid in their own right. Maps
are inevitably the combination of the two worlds. Maps are
valued for scientific achievements and language of logic as
well as personality.

(Extract from BAGD dissertation.)

C OL O

O
PH N
Published by
BA (Hons) Graphic Design
Central Saint Martins
1 Granary Square
London N1C 4AA

Copyright © Central Saint Martins &

the respective students

Work selected by Advertising, Design & Interaction,

Illustration, and Moving Image route leaders Clive
Challis, David Preston, Andrew Hall, and Esteban
Gitton, Context tutors Paul Rennie and Andrea Lioy
Introduction by
Peter Hall, Course Leader

Designed by
Therese Cappelen, Tatiana Ermolaeva,
Lars Høie, Claire Köster, Nikki Ritmeijer,
Emily Schofield, Hattie Wade

Co–ordinated by
Phil Baines

Typeset in
Young Serif by Bastien Sozeau
Neue Haas Unica Pro by Linotype

Printed on
120 gsm Munken Lynx Rough by
ArtQuarters Press London