Marina Economidou


I enjoy editing — I think of it as Montage, as a subversive action. I’m constantly seeking to deconstruct and reconstruct. Found-footage in my work acts as the new base material, it is no longer seen and considered as an assembly of several cuts but as a whole which I then take and break apart in order to rebuild something else that ‘remembers’ the original material (both the physical material and the subject matter).

Both as an artist and a designer I see my role as that of raising questions, challenging conceptions, triggering discussions, breaking through seen and unseen walls, all in search of the truth, which the work I create attempts to bring forth and unravel. The motivation behind my work is an inquiry, an exploration of persistent themes and ideas, questioning issues of power, control, reality, knowledge and representation.

'I Love You Project' The idea behind this project came from thinking about the dissonance between how the phrase ‘I love you’ is used in cinema and what it means to me personally. Creating a compilation of ‘I love you’ scenes, taken out of context, exaggerates that moment and exposes the somewhat ridiculous use of it — it’s drained of its meaning; it’s no longer special; it loses its aura. I wanted the viewer to reexamine the phrase, in all its absurdity. This is a live project; its audience can view, share, and also contribute to it by suggesting ‘I love you’ scenes to be added to the ever-growing sequence. The sequence is randomised each time it’s played and is unique in that way.

'BLINKERAMA!' This project developed from a simple question; Can I create a work that can only be viewed by blinking? Creating this somewhat disassociate, flickering imagery, you have to synchronise your blinking to the sound in order to see it. I chose two films by Segundo de Chomón — ‘La Grenouille’ (1908) and ‘Les Roses Magiques’ (1906) as my base material. This work can be viewed on a screen but preferably should be viewed on a viewing device to complete the experience. Collaboration with One Girl Four Days (@OneGirlFourDays) who created the sound.

'Distance' NASA's Curiosity has to take a picture every time it moves as it navigates its way on the surface of Mars, communicating with Earth, which results in a truly beautiful and odd documentation of its journey. I use these images to create a silent stop motion sequence. I find the images to be very ambiguous, neither from here nor there, ominous in their uncertainty.



Dun Lee


(Re-programming Interfaces of Pre-existing Circumstances) Re-programming Interfaces of Pre-existing Circumstances is to discover a new value or potential that never been surfaced before by repurposing pre-existing circumstances, the conventional. Also it is to conceive communication mechanism of graphic design by exploring materiality of language (textual entity, property, value and mode), the basic element of message. My practice-led research breaks into 3 chapters inspired by how OuLiPo situated their practice within 3 stages, (1) Creation, (2) Re-creation, (3) Recreation. In my case, 1 — Creation (Conditional Writing) This is to produce writing method for dissertation. How do circumscribed formats of communication such as limited amount of time or length, affect thinking process and addressing an opinion? 2 — Re-creation (Re-programming Interfaces of Pre-existing Texts & Semantic Excavation, Re-programming Interfaces of Expansion of Limited Resources) What potential I could get when the pre-existing circumstances (chapter. Creation or limited resources) are rearranged or reproduced? 3 — Recreation (Re-programming Interfaces of Ambivalence Illegibility, Series of Textual Properties) How do we perceive textual content? How do text and page interact on reading environment? Investigation of mode of text Each research step chases OuLiPo’s constraint-based literary practice, pursuit of finding potentials, and Georges Perec’s speculation to interrogates unexpected currencies of words by dismantling textual attributes and reframing pre-existing situation. It re-iterates deconstruction and reconstruction to orientate new situations out of the previous. Each project is developed gradually by reflecting, dismantling, and repurposing each previous experiment. Creation builds an orientation under restricted and conditional environments, out of the exhaustive constellation of interests with a selective lens. Constraint might be seemed to limit creativity or a way of thinking but its explicit regularity becomes a rule, a tool of creation. It turns out guiding how to think. Like following a compass in the middle of foggy ocean at night. Re-creation deconstructs textual entity of Creation, then reframe the circumstance of Creation to discover unexpected currencies of words. It dismantles the text into the bits and repurposes (poetic hyperlinking) them to see language’s depth and potential. Re-programming Interfaces of Pre-existing Texts & Semantic Excavation cuts out words from the pre-written text, the dissertation, to propose a three-dimensional approach to the content and to discover unexpected currencies of words or the potential of, by making text alive, build, moveable, functional, transformable and transferable.  The pivotal words imply the central theme of my BA thesis and expand themselves by re-remixing again and again the words that already mashed up (Re- — Re-mix — Remix, Re — Re-programme — Re-programming interfaces of) to see what textual entity can be newly revealed when a noun meets different adjective or phrases (there are several attempts to link ironically such as subjective translation or objective emotion). Re-programming Interfaces of Expansion of Limited Resources is to illustrate my research process to repurpose pre-existing circumstance with images. While Re-programming Interfaces of Pre-existing Texts and Semantic Excavation reframes the thesis, the image remix is to test out reframing practice to images to see what new value or potential that I could find. The current situation regarding Covid-19, under the quarantine has affected our working environment, we are not allowed to access university’s facilities such as workshop or the library. So books, brochures, prints that I have in my room or the online references are the only accessible resources that I can utilise for the time being. This circumstance itself is a constraint and yet a tool of creation. Re-programming Interfaces of Expansion of Limited Resources excavates resources from my archive box and weaves 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 play with the contents I have produced. It reframes concept of the editorial by demolishing textual hierarchy and several modes of text. Audience can choose attribute of the content. They can see it as an image or read it as a contextual content, or both. They can also decide where to start and where to end, the sequence of content. Series of Textual Properties codes the dissertation in semiotic way to map out textual properties. And it generates new images out of the properties. Throughout 3 stages of research, Creation, Re-creation, and Recreation, I’ve found that graphic design’s communication mechanism is a process of digging out potential buried below the surface and the unexpected currencies can be new situations. Unlike scientific discovery, I’ve learned definition of new in graphic design field doesn’t come out of nothingness. It comes from numerous attempts to find potentials by repurposing pre-existing circumstances.



Jahnavi Inniss


Black people have made significant contributions to British society; however, these contributions have been left unrecognised. Upon doing extensive research into the different ways to showcase Black British history, I noticed frequent silent gaps in the timeline. I adapted the cultural technique of quilting to give visibility to the many unrecognised Black people that contributed to British society during the17th and 19th centuries. I aim to dismantle the ‘single story’ which suggests that Black people had only arrived in Britain after the Second World War in the 1950s during the Windrush period. I also want to dismantle the idea that Black people in Britain during the 17th and 19th centuries were only of a subservient status. Through my project I am evidencing the power and responsibility that designers have in creating work that influences attitudes towards underrepresented groups of people. 



Katie Hackett



My work takes an experimental approach to image and video making, I’m usually inspired by the natural environment and finding personal connections to it. I love to work with analogue techniques and build off physicality. This project is rooted in my own experiences and states of mind, it explores my relationship with the natural world that I share a strong emotional attachment too. This also links to the reasoning behind choosing analogue and alternative photography as my method to portray this. Analogue techniques contain a certain mystery, especially with my pinhole journey. Some of the outcomes are very abstract, which made me look at the land in a different way, creating a different world to what we perceive. They are slightly ethereal, like I was able to capture hidden aspects of the land through the light spectrum revealing itself.

I was heavily inspired by the Land artists movement of the 1970’s which informed my creative practice and encouraged me to try out different things. After not having the necessary equipment (due to lockdown)  to make a film I decided to make a pinhole camera which I would aim take out in the field with me. Due to the nature of the pinhole camera I made, it used light sensitive paper instead of celluloid and so was only able to take one photo at a time before changing the paper. Depending on the light some exposures would last a couple of minutes, so I had to find ways of making the camera stay still. The final outcome for this project is a photography book I have made, and will go on to print when possible. This book was made through exploring my relationship with nature but the outcome encourages the audience to self-reflect on their own experiences and relationship with the landscape. The two photography methods I produced visually different outcomes and so to make a cohesive final product, I decided to overlay the pinhole and film images on top of each other. The long exposure pinhole images represent the passing of time in the landscape, the uncertainty and mystery of the past, whereas my film photography shows my current connection to the land by being able to frame and view what I am taking an image of… the final collection of images bring both these aspects together forming a final outcome for Past Forward.



Ella Zeki


Who am I :  Hi I am Ella! I am a graphic designer and positive thinker driven by making/ encouraging positive changes to our environment and our wellbeing. My practice is centred around how play shapes our lives and can also facilitate learning. My design style and aesthetics are all about repurposing and 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. Throughout this enquiry, I have primarily focused on the positive qualities that play has on our ability to learn new skills and information at any age. This time around my work has intentionally been playful, I have a better understanding of what that means for me and my practice. And I hope by viewing my work that you can gain a better understanding of it too. Play is simply allowing time in the day to forget about everything else. And allowing yourself to become consumed in something that makes you happy. Be open to finding play among the everyday and trust me you will discover something you never knew about yourself or even the world around you, it's that easy!

Project 1. Helping hand typeface

Helping Hand is a typeface that visualises the physicalities of a conversation. The final typeface was heavily influenced by the lockdown situation, 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 to really struggle to re-enter society some experts say we might lose the handshake for a very long time. So, for now, let us send one digitally!

Project 2. Little Lessons (this project was a collab between me and Alice Gough) 

In response to schools being shut due to COVID-19, we designed a set of books to encourage parent's to use the skills and knowledge they already possess. And create a fun learning environment at home, to normalise learning from a home environment as well as a school one. Little Lessons are a set of activity books, these activities have been designed to feel like play, but have strong life-lesson like qualities. The child’s publication possesses all the fun and play they desire, and the parent's publication will guide the parent on how to approach the different activities and how to enhance their learning qualities. And how to reflect on them with their child after.

Childs Book Parents book



Georgia Pizzala


I am a 2020 Graphic Communication Design Graduate from Central Saint Martins. 

I find myself floating about many different forms of design and creative outputs ranging from Photography, Graphic Design, Styling, Art Direction, Fashion and Fine art.  A lot of my personal work involves the psychological study of social behaviour and ethnographic researching. 

Behavioural mannerisms, actions, ideas, thoughts, conscious/ subconscious, an overall psychological theme. When Applying this to everyday life I noticed that the majority of my ideas ended up with a focus of how all of the above applied to Social status and Classism. Initially I did want to stray away from previous ideas so that I didn’t refine myself into a small box using themes of precious projects. I started looking at Mirroring behaviours and the psychology behind what causes up to copy other humans subconsciously. Richard Tuttle, Agnes Martin and Gillian Wearing were all fine artists who follow the same conceptual theme of breaking from the norm of what other people follow and becoming your own critic. These artists wanted to avoid social norms, this wasn’t the actual idea for my project instead I wanted to figure out what it is that makes us follow these formalities. My main focus from the start was mannerisms, looking at manners, especially bad table manners. An artist who inspired me the most throughout this project was Photographer Carrie Mae Weems, she investigated family relationships, cultural identity and class. She created a photographic series of a family around a dinner table and what else happens besides eating. From a young age I had the idea ingrained into me that no matter what your background is, if you held yourself with good manners then anyone would respect you. After research and experimenting I found myself on how manners can represent social class. Noticing with different case studies of people from different classes all acted a different way on the dinner table depending on their upbringing. Not only this but Manners are different all around the world within different cultures. This Project is a statement. We're misjudging people due to class and upbringing, having misconceptions because of apparent wealth. Having a humorous but also honest side due to pointing out obvious stereotypes that everyone could relate to in some way. Throughout this project I used Various formats of analog cameras, then continuing with the process, development and printing myself.



Vanisha Nebhwani


My practice as a designer is based on creating connections with us as individuals and as a society, using illustration and animation as a medium. My audience helps me create work in order to empower meaningful conversations between each other and view how people's perceptions in life are different to others. My aims and intentions as a designer is to use my audience’s thought processes 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 around us. I did this by using two common subjects: colours and dreams that turned out to be my two projects and pathways into finding an answer for one common question. How humans perceive the world and does everyone see things the same or differently. To what extent? This question frames my entirety of my work during the past few months, delving into what is perception? and how the mind works as a whole.  How individuals and communities perceive the world? Using my audience to collect data to express these thoughts visually. We, as a race are all involved in the world of perception. Without any interaction, emotion, senses, we wouldn’t have any sort of perception as there wouldn’t be any experiences to base it from or a contrasting point of view. As an individual and as a community, we work and interact with each other through our ways of seeing, this is how connections between humans get stronger. When our perceptions are similar or we connect with someone who views the world to a similar point of view than the other. Using common experiences and subjects, my audience created a connection between each other, sharing their perception of what they believe in and how they have experienced the world with their own eyes, if you might say, their eyes were windows into their souls, their minds. Showing how emotions and experiences can change the way they watch a world through colour, or how they would imagine the world through their dreams according to their experiences and desires in life.

We all perceive the world differently, and this is because many factors come into place that influence this such as past experiences, emotions, senses, surroundings and the way people have been brought up. We as a collective need to perceive the world differently in order to coexist with one another, A different perception is not bad or good, it's just the way you as an individual think, but what I learned is that we need to communicate these more effectively. Using things such as colour or imagery to express an emotion that can’t be described with only words but rather visually, and seeing such amazing results of the diversity of our minds is something so beautiful. In my opinion, when talking to everyone who has contributed to my projects, I realised that we need to think outside of the box, or our heads and try and understand one another to make things more clear, or see them from another point of view. However it may be expressed, which in my case was through my two pathways, colours and dreams, which hopefully I will be able to investigate into this further and dive deeper. As individuals we see the world completely differently but as a society we join together and understand each other's perceptions on life. 



Urja Gauri Jain


Urja is a Visual Communication designer, born and brought up in India. As numerous others, she grew up watching Bollywood films and absorbing toxic norms. Moving into adulthood, through her work, she has explored the unlearning of these ridiculously perfect expectations of how a woman should be within the Indian social system. Using visual communication, as a young Indian woman, she has been able to navigate through the dichotomy and find the balance between appreciating her cultural roots but also not being afraid to call out bullshit. She views herself as a subversive designer questioning the influences in Popular Culture. Her work looks at the nuances of gender, romantic love, desire and psychology through an exaggerated satirical lens. Her design mediums include editorial design, illustration, photography, content writing and filmmaking.

A room with a view, but no window…

About : This film is an exploration of the power imbalances in a heterosexual relationship, it looks at the underestimation of power that heterosexual males possess within it. It focuses on what happens when men gaslight women in relationships and the realisation of being driven to craziness through the manipulation they experienced. It attempts to bring to light nuance moments of psychological manipulation that have been normalised internationally in mainstream media.



Abbie Lilley


Print & Typography lover, I balance the use of systematics with aesthetics to produce meaningful and carefully considered design. My practice is always responsive in nature- whether that’s to a specific audience, concept, or the current climate. I’m continuously looking for new approaches to learn and adapt my skillset further, often doing so through collaborative projects.

You Were Here is a responsive, critical publication. Through generating a volume of observations, formed in different locations and responding to human behaviours- I found myself infatuated with how we, as individuals, interact with art. Having had the privilege to have been immersed in gallery spaces since a young age, I have always been transfixed with the shift in social etiquette when entering a curated room. I decided to challenge how this experience could be translated into the static printed page, transforming the often mundane ephemera associated with exhibitions.

The book was based upon the recently-opened yet short-lived exhibition, Andy Warhol at the Tate Modern. I challenged how an artist’s book could be responsive in nature to not only the work, but how we behave in a gallery space. Each spread is completely different to the next, with the framing of the page remaining consistent throughout.

The book uses design tools such as typography, colour application and even illustration to reflect the playful nature of the work, resulting in an experimental approach to exhibition books.

port2 port2


Celeste Gration


Following my previous self-directed project where I looked into the taboo subject of Sex Education, I wanted to continue investigating into how we can use visual supports to help us connect and engage in other topics we find difficult to talk about. After discovering an article by Aamna Modhin called “Redefining the Strong Man” about the champion boxer Tyson Fury opening up about his mental health, I realised that existing stigmas may be a false impression of what boxing is about and what it means for individuals. Often, boxing is seen as an aggressive sport, where physical strength and masculinity is flaunted. But beneath the brutal force, it’s a form of expression and identity. I became fascinated by the use of hand wraps, which are used across some martial arts practices for protecting your hands in a fight. When hands are wrapped before a fight or training, it gives you time to visualise how it will go. Visualisation is often misunderstood. But if practiced properly, it can become a very powerful tool. The combination of visualising and the physical binding of the wraps around your hands can be a metaphysical experience. Having the time to wrap up pre-session or fight is an opportunity that you can be mindful and mentally prepare. These set of hand wraps with a punching bag style inspired packaging were a challenge to make with a lack of resources and materials never arriving due to the pandemics lockdown, I had to use my bed sheets to create the wraps and old card materials for the packaging which became an interesting task. They hand wraps involve ways in which other boxers and martial arts practitioners use mindfulness as a tool to relax, build confidence and keep yourself calm. The mind is a powerful tool and can be used to enhance day to day thinking as well as athletic performance. Taking control of your mind can benefit your mental health greatly, it can help you decode your emotions, allowing you to learn about yourself which can lead to more effective conversations when you reach out. As well as the illustrative motives for these mindful methods - I have included helpline contacts at the end of the wraps to encourage reaching out if needed. 



Danae Valterio


I REMEMBER explores self-identity through the representation of memorabilia. It focuses on people’s memories of their personal objects. The aim is to achieve self-representation through those objects and question whether the thematic of representation changes through time. Through a series of objects’ photography, the project explores the relationship between art historian Laelia and myself. I Remember is presented in the form of an intimate publication which follows a private conversation between the two protagonists about their memories of their objects and includes images of their objects and handmade prints. Our memories will differ because they are based on an individual’s experiences and ideologies. Twenty objects were selected because they represent specific moments shared between Laelia and myself. Laelia’s memories are represented through film photography of her objects. My memories are represented through cyanotypes and tea-toned cyanotypes. In both chapters, the size of the photographs and prints is proportional to the amount and quality of our memories. The photographs and prints are accompanied by the conversation about our memories. This conversation was printed onto folded papers whose size is also proportional to how well each memory is remembered. The text is hidden under the fold to show that memories are intimately stored into people’s mind. The printed conversation explains the meaning of each image, but it is up to the reader to decide whether to interpret the image on its own or to read the text. The reader, therefore, goes on a journey of opening each paper and dives into a person’s memory.

Ultimately, the book shows that “people express themselves through their possessions” (Miller, 2008, prologue) and challenges standard forms of portraiture. The audience ranges from mass-market to creatives in the design industry. They engage with the publication in museums or independent bookstores. The publication is accompanied by two portraits of Laelia. The portraits act as a reveal: the reader finally sees Laelia. Through film photography, I tried to create the most authentic and accurate portrait of Laelia using the environment and her objects to represent her.

I FORGET focuses on people who can’t remember their memories because they suffer from dementia. The project explores the thematic of self-representation amongst those suffering from brain disease. Since representation changes through time and memory deteriorates with time, I question whether people who lose their memories lose their identity? The project is aimed at raising awareness of dementia. I interviewed three people suffering from different stages of dementia. Using archive images of their hometown and personal objects, I discussed their past and tried to trigger their memories back. Through filmmaking, I created three portraits depicting their struggle with dementia.

The project was accompanied by a photographic album and a coat ‘wearable memory’ which encompasses these people’s memories. Coats are made to protect us against weather conditions. Similarly, this coat is used as a tool to remember and aims to bring them comfort. Not only are they wearing their memories, but they can also look at them, read them and feel closer to who they once were. The coat celebrates all the precious moments they shared. Dementia affects patients but it also impacts relatives. Dementia faces all of us; however, it is only when we understand the effects that we can change our behaviours and help those concerned. It is, therefore, important to enrich people’s understanding of dementia, especially amongst the younger generation. People in their twenties form my main audience because they are the future carers. To engage my audience with the topic, I need to understand their culture to make the topic of dementia more accessible to them. Meeting each of them has deeply touched me and listening to their stories moved me. It was an emotional experience and I felt closely connected to them. I tried my hardest to show the intimacy and the emotions in my films so that the audience can also travel there and feel the same emotions.



Rana Arrad


This showcase is comprised of two final major projects that help to highlight the digitisation of culture and how that digital can further help to accentuate important information about different cultures. That being said, these projects create an understood world of how things have emerged through time; culture within this context, and stimulate a sense of belonging through the demonstrations of history of the past and information of the current present. I wish for the audience to engage with my work in a way that would allow them to be educated and take on the conversation that has been provided and utilise it in a way that would expand deeper thinking.  An often overlooked prominent and efficient way of understanding identities and values within a culture are through objects. “The materiality of a cultural object inscribes a record or trace of its history.” (Luke, 86) Since tactile objects, whether mass produced or hand crafted, often hold a lot more information than what is anticipated, I decided to investigate objects in order to get more insight on their cultural significance. The sensorial act of understanding or even beholding that object is an act of being taken on a journey of a story. Although it is often a subjective way of telling, mankind often oversee the potentiality of the objects they own and how precious they are in that they withhold anecdotal truth and belonging within society; in other words; Objects act as evidences of the past. I decided to put that to the test. 

Ludmilla Jordanova mentions in The Look of The Past, “Many forms of public culture encourage us to see the artefacts as signs of their times. Museums, galleries, films and television, the internet and widely read publications generate and disseminate popular ideas about past times through their uses of images and objects.” Museums and archives are appreciable in that they hold this theory to the test. The Pitt Rivers Museum is an example of displays that withhold the housing of archaeological and anthropological objects that are shared with the public. “The displays are organised by type, rather than geographical region or time period. This typological arrangement can function as a ‘democracy of things’ and encourage global cross-cultural reflection and celebration of human creativity and cultural diversity.” The way in which this particular space shares the information of the artefacts is done by the system that was produced, thus pushing the idea that objects are treated with individual identities and attributes. The Look of The Past presented a theory that instigates the idea that there are many ways of looking at an object; such as, the description, visual aspects, history and so on. Using this information, I created a system that helped me breakdown the objects collected for this project.  Explore the different objects collected through their digital translations.




Bobbie Galvin


This project rebrands standard information provided during the outbreak of COVID-19. People's lives in the height of COVID-19 were feeling extremely out of control. News/information was flying everywhere and people felt bombarded. This is where The Good (positive information) The Bad (negative information) and The Ugly (false information) steps in, It reestablishes control and structure into peoples lives, by giving them the power of choice to decide when and what information they receive. 

Colours are used across cultures as symbols for different entities. For this brand, colour is used to evoke a spectrum of emotions associated with positive, negative and false feelings. Colour in this environment is used to prepare the viewer unconsciously before opening up the information. The shape of the symbols for each section (+, -, x) was used to reflect that of a medical pill. This is so that the person can prescribe their own dosage of news/information about COVID-19.

It was imperative that each element of the design would have a structure and system. So that the brand could offer the audience the ability to cultivate stability within their lives through the information The Good, The Bad and The Ugly provided. The system is separated into these elements: News (Positive, Negative, False), Stats (Death-tole, confirmed cases), Health (People at high-risk and low-risk) and Hygiene (Good, bad or false materials, surfaces, and chemicals to be aware of). 

Positioning this brand in a printed medium was to move away from the saturated markets of digital media. It was clear from audience research that people were becoming exhausted with the overwhelming rush of media coverage on COVID-19, that they would even avoid the news as the last resort to find some sort of control. Therefore printed parcels would result in creating a feeling of stability through the act of the person physically holding the information in their hands.



Abby Colquhoun


This film was shot on super 8 and created during the lockdown period. I intended to provide an experience for people to collaborate and come together. The film documents our connection to the land. It is a representation of people and place, specifically the place I come from, Wiltshire.  Growing up, I worked at Stonehenge and it was during this time that I developed a passion and interest for the rich and ancient history of Wiltshire. I was lucky enough to meet many interesting and knowledgeable people, who passed on their wisdom and passion to me. I feel a strong connection to the landscape and history of Wiltshire and I wanted to recreate this feeling. I organised a small group of people who were willing to collaborate to create a portrait and celebration of the land we come from. 


Ella Alder


In our fast paced society consumer trends show Britons are opting for fortnightly in store big grocery shops, with smaller top up shopping throughout the week. To adapt to the changing needs of consumers an easier way to shop was needed. Hence the idea of shopbox was born!

The concept for the project 

What the heck is shopbox anyway? Shopbox is a food delivery service that allows you to collect your shopping on your way home at designated tube and bus stations. Eliminating the dreaded after work trip to the grocery store or rushing home to meet a traditional food delivery; by bring the grocery store to your fingertips and at your convenience.



Ishwari Giga


This project was a personal exploration of a community that I had grown up near. The South Asian community in Southall and the surrounding areas, in West London, allowed for my family and me to integrate our culture into our daily lives. These communities allow the children of these communities to have a place to connect with our cultures. For many children of immigrants, these relationships are complex and even for myself it has been a complicated journey of feeling both a part of and far away. 

Southall like many communities in London are facing the possible gentrification with the increase of development of luxury homes. Within the documentary, I explore the history of immigration and the journey that led to this community to become what it is today. There is a part of me that feels as if I have created a small archive. To try to understand the intergenerational differences and what the future looks. Southall is a place that allowed me to have my own connection with my culture as well as, to understand the parts within our community that are broken. There’s a responsibility in representing these communities, I feel an enormous debt, for my life would not be the same. The documentary that I have submitted, is a small part of a wider conversation I plan to continue. Encapsulating parts of the history, the community and the intersectionality that currently lives in it as well as, the uncertainty of the future that is to come. 

The name was born out of the photographs I took along the way with the tinge of fluorescent lights. When I saw them it felt like the times my whole family would go to Southall to shop. I could feel the intensity of the colours, the music in the background, the back and forth of haggling, the vividness of colours and smells and the urge of being a little kid that wants to go home. In the lockdown, I missed the community and worried about how it would affect them. What would Southall look like after the pandemic? For many small businesses, they have no online platform and in-person experience is a big part of feeling connected outside of just buying things. In this want to be there, I projected these images around my home placing myself in it, for a moment I felt more connected to this community once more.


Zac Goodenough


A complete sense of loss. A Total lack of reason. The only direction - failure.  Suddenly, in the grim darkness, hope. A spark. An idea. "What if, yeah, there's this guy, and basically right, he's haunted by this cat or something yeah? And it's basically about how this stupid ghost cat just gets right on his nerves and stuff". Great. That definitely sounds so good. That's like, so deep. Like ghosts and stuff? Wow. Wow - why? Why? Well cats embarrass me and they provoke me okay. They look at me like "what you looking at mate? You want some do you? You wanna go?" and I thought I might as well take that, and do something with it. I might as well you know. Since there is nothing, nothing else coming to me. Except for "ooh it's lockdown and I need ice cream from Tesco". Actually that sounds like it has some potential. I should've done that. Damn it.



Jihyun / Jay Kim


How To Dine 101

We are making impressions every moment of the day.

*How to dine 101* is a project that focused on educating people on dining etiquette. Video "Come Dine With Me" encourages people to realize how a lack of knowledge in dinning manners could affect one's image. And "Know Your Fine Dinning" & "Know Your Asian Dining" kits are educational tools for people to learn accurate etiquette and use of different cutlery in various dining situations (such as Fine dining and Korean/Japanese/Chinese dining).



Jessica Sanders


Addressing the the climate emergency to a younger audience through 'Sleeping Giants & Weather Monsters’, I wanted to showcase our planet’s destabilising network of living systems by personifying these these areas of ecological crisis. My world map functions as an interactive worksheet that can be transformed into a foldable 3D globe. In light of the pandemic, it can be alternatively explored in the form of augmented reality as you navigate through the Earth's spheres.

I’m interested in the transformative nature of learning tools, being non-prescriptive and interactive. My use of illustration, animation and data visualisation is aimed at repositioning my practice towards participatory projects. The ‘Kaleidocycle’ template can similarly be reconstructed to a physical object. It represents the varying scales of climate feedback loops from the micro to macro; Traveling through plant and marine life structures to the gas exchange occurring at the atmospheric level. 



Leila Wallisser


How can we add value to discarded resources? My final project at Central Saint Martins is an attempt to add narrative to by-products of our current ecosystem. It focusses on integrating natural aesthetics back into man-made waste, provoking the viewer to question the value of our resources and the consequences of our current relationship to nature. The nine materials take inspiration from the visual aspects of wood, marble and stone.

Inspired by interdisciplinary approaches and with a focus on environmental issues, my practice involves bringing various fields such as photography, product and editorial design together. I am interested in the effects design can have on behaviour, and am curious to explore the extent to which design functions can be applied to subtly break boundaries. With an information-oriented approach, my aim is to make the hidden accessible through means of aesthetics, interaction and criticality.  



Rosie Stephenson


Hello my name is Rosie, Within my practice I use emotive experiences to tackle the disconnect of man and nature in particular I have been trying to help communicate the man inflicted damage to reefs and forests habitats globally. The symptoms of the climate crisis have come into even sharper focus with Covid-19 which, in my eyes, is evidence of man’s ever-increasing infringement and invasion of the natural world. I believe that using design as an activism practice plays an important role in communicating the extreme threats we now face, helping to engage humanity and spur positive change. Scientific information can be dry and overwhelming to the layman. I aim to tackle this by bridging the gap, to make important scientific knowledge visually stimulating and expressive. The book ‘Ecological Ethics’ states that “all value, for us, is anthropic generated by human experience” This has helped inspire me to design sensory experiences to build human empathy with threatened landscapes, and to forge audience connection with environmental emergencies.

Gestalt Forms of the Anthropocene, Critical Report.

‘The Gestalt Forms of the Anthropocene’, is a contextual voyage across damaged habitats on land and under the sea. It integrates exchanges with philosophers, scientists, activists and creatives, who explore themes surrounding the earth, it's symbiosis, and the climate crisis - and how we can best communicate their huge importance. The document investigates my own field work and design responses, which use experiential installations to help communicate the anthropic inflicted scarring effects of coral bleaching and deforestation.

Gestalt Forms Of The Anthropocene, Coral / Water

My Project proposal ‘Gestalt forms of the Anthropocene, Coral / Water’ uses the everyday location of Bus stops to communicate the effects of climate change. I have used Gestalt psychology as the cognitive basis of my process, interpretation, and design interventions to expose the destruction caused by individual actions cumulatively heating up the planet, leading to bleaching events which extinguish coral reef habitats globally. The installation experience translates 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 NOAA satellites, which record the global heat stress on reefs world-wide. Taking these far removed landscapes and placing them within our own streets creates a confrontation with the fact that coral reefs are dying at an alarming rate - with no sign of it stopping. I wanted to locate my intervention in a mundane everyday location, providing an opportunity for reflection. Bus stops, by their nature, are transient waiting spaces, with recurring users. I wanted to flip the narrative from a functional everyday environment to a subconscious experience, to bring the audience - some of whom are very disconnected from climate issues - much closer to the problem. The theory of “Information Anxiety” by Richard S. Wurman’s expresses a feeling of many people’s disconnect from, and overload with, intellectual information. I intend to bridge this gap to make important scientific knowledge more visually stimulating and accessible to wider audiences; and create a state of reflection in them. This is crucial to help foster a deeper connection with nature; and a spiritual, physical, and emotional understanding of earth’s ecosystem. My project aims to develop such profound connections.

Gestalt Forms of the Anthropocene, Forest / Land

The second project proposal ‘Gestalt forms of the Anthropocene, Land / Forest’ is an evolving installation which was intended to be located in Queens Wood forest . It presents the rapid destruction of global forest habitats, brought about by human deforestation and fires; presenting them in contrast with the protected woodlands of the UK. My installation intends to expose and visually narrate this global problem, which most people are both geographically and philosophically unaware of and distant from. The life sized screen print is printed using a custom black ink, made of ground ash combined with palm oil. This made from the flesh of past trees, their DNA of ash embers ground down combined with palm oil, to make my screen-printing medium. The ash medium isn’t fixed, so becomes smeared from repetitive touch. This temporary installation is a mechanism for reflecting man’s physical mark on the landscape. I placed the print back in its origins, displaying it among living trees, a reactivation of work in a cyclical enquiry, immersing the audience and my installation back in to the environment. The print is life size screen print visual and is hung between two trees, these structures are located on one side of a bridge placed over a gully, forcing audience members to continuously touch the print to move it over to pass. This human interaction smudges the print over a time scale of 2 days leading it to degrade and eventually get destroyed. It aims to reflect the collective actions of humanity leading to the demise of forests globally. The tree visualisation leaving its DNA in the form of ash, creating marks on the audiences body. The forest intern leaving its mark on mankind. Along side this hanging installation, is my audio intervention. Which oscillates between advocation, sadness and sorrow; an expression of the warped view of the protection of some of these landscapes against the peril of others. The ephemeral forest sound bath aims to induce a connection to Gaia and create a state of reflection.

Please click link to listen to Audio piece:




Roberta Lor


Misfit Fruits LAB
Perfection and Imperfection

The "Perfection and Imperfection" project is about challenging the notion of good food and changing people's perception of misshape fruits. According to WRAP research, in 2015, post-farms and retailers threw away 10.2 Million tonnes and 260,000 tonnes of food waste in the UK, one of the major reasons was the imperfect appearance. Therefore, the idea of "Misfit Fruits LAB" was to challenge people's perspective towards misshape food and investigate the notion of perfection in relation to food. 

During my research, I considered misshape food is a kind of organic food. They are imperfect looking due to growing naturally, However, the norms tend to purchase fruit that have been processed, such as injection or taste enhancement. The reason why they are 'perfect' because it is not natural.

Misfit fruit LAB tried to use information graphics to showcase the interesting facts and benefits of having wonky fruits. In my opinion, the definition of good food has been misled in our society. Thus, I would like to question how aesthetics take over quality in real life. Instead of using traditional media like publication, I considered creating an experience design that can make my work more interactive, meaningful and memorable. I applied multi-sensory in my work which can provide an unexpected discovery for visitors.



Océane Tam


Project Kubos is a digital user experience with the intent of demystifying the case of solitude/isolation. Presented on a website, it invites you to explore the different facets of isolation at your own leisure, based off the idea that fairytales relieve the weight of our reality and projects us into a fantasy world where we can reflect upon our misfortunes all the while being removed from them.  This project aims to display these feelings of solitude/isolation and show them as they are not for what they are perceived to be, to show the good in it and the bad because everything always is, “good” or “bad” in our eyes but ultimately nothing truly is, it is only the meaning we’ve given it and how it has affected us and our emotions. These environments are made to incite recollection of experiences and memories related to the facet. Paired with the small descriptive texts to guide the individual's journey through Project Kubos, there is no right or wrong it just is. I hope that users will share their thoughts and experiences.



Sharine Chan


Sharine Chan, a graphic communication designer graduated from Central Saint Martins. Her works encourage social interaction within public space, with the aim to strengthen and reconnect human relationship within communities. She brings focus on the audience participation and uses design to facilitate a social experience, bringing people together to converse and collaborate. Designs are inspired by play: the freedom to deconstruct and reconstruct. I incorporated elements of play within designs, to facilitates a social environment where audiences feel comfortable and safe to communicate.   Converse for light, a light installation where the ambient lighting responds to the level of conversation between commuters: the more conversation within the shared space, the warmer the colour of light will be. Sound is turned into a colour pixel which then travels to the end of the installation, creating a warmer colour which alternates the colour of the light within the train. The interactive element encourages audiences to activate the space around them and lead to further conversation amongst passengers.


Ruth Pickering


‘With no audience does your work exist?’, ergo, ’With no audience, can value be conceived?’ Pillars of gold is an audio-visual narrative journeying from personal to intrinsic value. Through the use of exaggerated visuals and materialistic qualities, a grandeur is projected to the viewer, engaging their attention. The visuals are paired with complimentary audio pieces from both found footage and interviews consisting of personal stories. The adverts talk of gold as a commodity, where as a precious gold object, such as a ring, often holds a higher personal value, countering its monetary value. Guy Debord critiqued society, burnishing it with a ‘commodity fetishism’. This contention between personal and monetary value drove my final outcome. “The making of gold into an heirloom was a way of trying to preserve that form into the future, an attempt to protect it from being converted into an amorphous lump of bullion.” Helen Clifford. A Gold ring is a very symbolic piece of jewellery and there are many reasons why they are worn, kept and gifted. All collectively understood to have value, both sentimental and monetary.

My finalising brief aimed to explore transactional/interactive communication through the keyboard as a tool for communication and production. The keyboard is one of the fundamental methods for creating and disseminating the written word. A versatile tool, it is used to express language in a variety of both analogue and digital formats. The current need for a connectedness through conversation is extremely valued. Written communication is one of the cornerstones of society and since the introduction of the computer and digital technology, has become increasingly easy, accessible and fast to communicate with anyone, anywhere. At the core of my creative and theoretical practice is the ‘active audience theory’. This follows a continuous theme within my work, considering how the work I create will be interpreted and actively engaged by the audience. Communication and dialogue between audience and creator are fundamental to the creative process and output of a designer. The Digital infant typeface symbolised a ‘giving back’ and an appreciation to my audience who have been a central role within my creative practice throughout the three years of study and continuing to be a key proponent in my future work.



Molly Mayo


‘IRL’ is an abbreviation for the phrase “In Real Life” is often used on the internet to distinguish reality from the virtual world. Through a series of publications, I collect and visualise my digital footprints taken from four of my most used social media profiles; Facebook, Instagram, Snapchat, and Spotify. The Design decisions of each book are a reflection of my profiles; my data is turned into understanding, manifested in paper. 

At the heart of this exploration was a desire to give some notion of permanence to online data. The data is selected by humans, as opposed to an algorithm, meaning I have extracted things that computers can’t gather. This narrates precisely how the data is not just a part of the virtual world; but shapes my physical self too. 



Lili Phillips


I am an attentive book creator, tactile explorer and graphic designer, whose work is bound by a critical awareness of content. I make books that beg to be shared; books that enable the reader to develop a slower, more meaningful, sensory sensation with the written word. My body of work both demonstrates and challenges this, investigating acts of publishing in the age of digitisation. Through engaging in tempered structures and experimental artists’ books, we learn that the form of the book can be used for more than its conventional purpose of clarifying and reinforcing the author’s words. I believe we must view the book as an environment for boundless creativity and exchange, for it is only then, we are able to organically, mechanically and harmoniously orchestrate its pages. In my search for publishing knowledge, I conducted a series of conversations with a diverse group of females, each having their own specialism concerned with bookmaking. Books About Books is a series of experimental publications designed in response to my interviews with Billie Temple, Coralie Bickford-Smith, Genevieve Lapp and Rahel Zoller. Their words filled with confidence, challenged my creative position as a designer, and allowed me to answer my dissertation question intelligently. Though all unique in form, each delivery of content reminds us of the vital role of the reader. For example, influenced by the term ‘dog-earing’, Rahel’s book entirely relies upon user activation. The text is only fully legible and intelligible when its pages are folded. Books About Books are intended as a point of entry to a deeper conversation. If my works broaden engagement with the physical book—whether that’s through handling, reading, folding, or defacing—I mark it a success.

To find out more, or to simply chat about books:
https://liliphillips.com/ & @liliphillipsgraphics.

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Jiaman Wang


I want to express a perception in this video that people suffer a lot of stress from deadlines. Dreams only take one day to fulfill their desire and accomplish what people haven’t got. Although it is a beautiful dream, I want to warn people through the video for those who are afraid to make decisions but choose to escape from reality. But in reality, we need to face the dilemma we escaped. Things that have not been done are still there, it will not disappear out of thin air, and no one will do it for you. Only yourself.



Heather McNally


Myth of meritocracy and neoliberalism

Does anyone get what they deserve or is life a game of luck. This project is mocking neoliberalist views comparing them to a gameshow. With a 70/80’s theme as this is when the term neoliberalism came about.

Luck starts from birth, it’s no secret that the family your born into is going to play a role in your success in life. Not having top grades doesn’t necessarily mean you’re going to fail if you have been born into a middle – class family as you have got lucky and have all the tools to support you in life such as cultural capital.

Neoliberalism increases income inequality by rewarding those who are already wealthy, while providing fewer nets for poorer populations to fall back on. All relating back to the lottery of birth.



Jingyin Luo


I am interested in speculative experimental and multi-disciplinary design using a wide range of media and contexts, especially in digital direction. I am currently focused on exploring and creating unconventional narratives and environments, while challenging ways of communication within the context of exploring the relationship between present and future, reality and hyperreality, as well as human being and machinery.

Being a visual communicator, and creative thinker in the digital age, I am motivated to create relational work in response to the current everyday moment, while speculating a future vision. In my final stage of my BA life, I was looking at the viewpoints and consideration on imagery in the low-resolution era. I produce informative, exploratory, interactive and experimental works, where I welcome in receiving audience’s multi-layered reactions and responses; and looking for bringing in freshness and mindfulness in creative industry.


Amanda Gayle


Departure is a live video projection of a 7.8 metre roll of collage I had constructed from gathering almost a year's worth of found material- from magazine cut-outs and newspaper headlines, to recycled prints. Inspired by the philosophy ‘Mono No Aware’ or the pathos of things, the film follows a passage of time which aims to recreate the bittersweet sadness that comes with an awareness of the transience of life. The subject of Departure is reflected in it's means, the colours and existing stories that make up the fabric of this film are pieces of time themselves. With no explicit narrative, Departure is only complete upon the audience experiencing it.

Collecting plays a significant role in my design practice, there is often an unplanned approach to my work which revolves around reframing found content to challenge existing ideas about the world. My work has always thrived off the excess and uncertainty that comes with collecting- I never know where it’s heading until I get there, but I start each project by simply looking towards everything and anything around me.



Gianni Antonia


CYPHERLOOM: Briefly put, ‘Cypherloom’ is an exploratory archive with a series of visually encrypted representations of *SELF-IDENTITIES* towards understanding the contemporary meaning of *IDENTITY* to post-millenials and its ability to function as *DATA* to both envision methods for *GENERATIVE PERSONALIZATION* – within *COMMUNICATION* and *FASHION DESIGN* practice – and to humanize how we visualize *DATA* by rather focusing on the symbolic *MEANING* and *NATURE* of the gathered *DATA* than prioritizing clear semiotics.

The visual encryptions, which are textiles, are intended to spark conversation about the relationship between *APPEARANCE* and *IDENTITY* and were a result of my journey towards more effective approaches for *ENGAGING* and *USER-INCLUSIVE* *COMMUNICATION DESIGN*.

The visual elements used in the textiles are representations of the *SELF-IDENTITY* of 3 participants: Tyler, Clelia & Chloe, and depict specific insights regarding various parts of their identity. The insights are visually encrypted by transcribing speech from personal interviews to text, and translatingusing these into Binary code and further into visual elements, which could be of any shape, as long as there’s a positive and a negative element.

The real challenge within this enquiry was to use something as ambiguous and volatile as *IDENTITY* as *DATA*. Though the impossibility to capture and depict one’s full *IDENTITY*, I was able to categorize all statements made by the participants into my “13 Circles of *IDENTITY*”. This enquiry resulted in various attempts to further humanize our use of *DATA* by taking the nature of the collected insights into account, it being expressive, subjective and in constant flux, as its visualization should be.

Generative Baby Blankets

Towards visual encryption and augmented decyphering of emotional content. “HOPE III” is an explorative journey that reflects on the privacy of conversations and emotional computing. Ornamented with visual encryptions of prayers and messages from pregnant women in their twenties, the baby blankets [series of 5], are meant to function as symbolic artifacts to invigorate a conversation between Mother and unborn child – to be decrypted by their offspring at a later age. Inspired by Gustav Klimt’s “Hope” and “Hope II” which depict expecting women desperately praying for their offspring, this third chapter is meant to explore deeper insight into the thoughts of soon-to-be moms, facing parenting with expected future challenges

The visual elements used within the encryptions are inspired by the ambiguous symbols found within the robe in Gustav Klimt’s “Hope II” and are generated to accurately translate characters from text to highlight emotion with their specific colours. The system has a rather complex structure to create responsiveness for production and to ensure a solid encryption, so only the child is able to decypher the message.

The decyphering process is fully automated with use of Augmented Reality, only displaying the original message when the matching blanket is scanned. The conceptual “HopeAR” application focuses on new possibilities within Augmented Reality when collaborating with Artificial Intelligence to enable access to unique experiences – in this case nostalgic moments towards the growth of a new relationship .



Yasoja Ratilal


My design practice shifts between system construction and illustration. I believe in breaking down complex topics and currently am fascinated with technologically orientated design futures. My project opens discussion about the integration of robotics and machine learning into our daily lives. The robot is a complex subject of both fiction and engineering, and I explore both elements in a two-part investigation:

1) The ethical appeal (ethos) of robot autonomy

2) The emotional connection (pathos) to existing technological artefacts

I aim to change how we perceive our relationships with machines, reimbursing our emotional connections to tools of the future and remove the scepticism surrounding the autonomy of robot expression.

The first element of my project takes form as a printable home robotics kit designed to be an intuitive resource for building your own robot arm. A Rodo bot when connected via Wifi performs a series of emotive expressions - I wanted to introduce new participants in the field of robotics to robot autonomy through lo-fi means at their homes. It is by this build yourself robot I hope to remove the scepticism and speculation surrounding the allegedly complex machinery.

The second embodiment of my project is a set of 56 collectible character cards about the technologies of which surround us daily. My intention was to commentate and reposition our emotional relationships with existing technological artefacts. Talking Tech cards are inspired by 80s cartoon and comic style, in reference to a format of nostalgia, wit and longevity. All cards were hand drawn keeping the authenticity of retro card graphics, each with a unique take on the stories a technological item would tell.

An additional project I did is for the NextGenPSF AI project, conducted by multiple researchers in collaboration with Central Saint Martins. Tasked with visualising depicted 2030 scenarios given by the researchers, I decided to not only illustrate the core elements of "2030" AI intervention but package each scenario, recomposing the dense documents into a set of prompt cards. I aimed to make the subject more conversational for new entry researchers into the AI project. There is a collection of three packages, one for each scenario. Each package contains a 32-page illustrated publication and a card set.

These projects exemplify my nuanced design practice as moderated, realistic approaches to subjects one may initially perceive as utopian or dystopian in nature.



Rui Li


“This is the second part of my “I & Myselves” project. I am exploring further on the bondage and knots of human emotion, exploring questions that purpose every day on my mind. Why are we feel so guilty when we are not trying our best? Why am I so strict with my behaviour daily basis? Why do I feel pain and suffering when I can not make a decision? ....After a lot of research and self-reflection, I regard those negative emotion came from the collision of opposite desires (conscious desires and instinctive desires). Conscious desires include desires of success and achievements of personal value. They usually require a longer waiting time of receiving a mental reward, which affects the decrease in satisfaction/pleasure and causes some mental suffering. The instinctive desires include sensual desires like sex, food, alcohol and entertainments, etc. The mental reward usually receives immediately. The tangling wars between the opposite desires usually due to the limited time of human beings. One usually has to sacrifice the other. It’s those kinds of human ‘knots’ that drive us mad. To express entanglements, mental suffering, internal dialogues and transform them into images, sounds and movements. I created a circle/knot which can be looped as the knots and problems will never be solved until we will never struggle in making decisions. The circle includes: Birth - Divarication - Control - Imprison- Struggle - Broken - Rebirth. In this case, the rebirth can be regarded as birth at the beginning and the circle start again and again. The art direction was inspired by stage and performance art in theatres and films. The high contrast of shadow and light for building richer atmosphere and emotions, get rid of the excessive decorations around, let my audience body and mind immersed in the performance of the actors. The reason I think those factors fit my video is that these spotlights and shadows are very much like the 'internal' theatre, the ‘drama’ take place within my mind, hiding under my body, no one sees expect myself. What I am doing is moving and visualising those internal actions to the actual screens. Which hopefully triggers my audience self-reflection on how they ‘see’ themselves. ”



Abbie Lilley &

Lili Philips



Work In Type is an experimental newspaper, designed and issued by Nearly: a newly-launched publishing house run by Abbie Lilley and Lili Phillips. To give you an overview,  Nearly are currently managing a live online archive, showcasing the works of third-year, BA Graphic Communication students at Central Saint Martins. Being a part of this community amid the current global circumstances, means both myself and Lili understand the pressures students are facing. Therefore, the publishing platform, Nearly , was designed with a unique point of focus: a lack of expectations. Students are warmly invited to submit the mess with confidence; the explosive mind-maps, the faulty prototypes, and unpublished gems. I think we can all agree that right now, the news is filling us with nothing but anxiety. To escape the noise,  Nearly  have reimagined the conventional newspaper format, storming new territories for publishing, design and the distribution of information. By utilising the papers unbound sheets, we have been able to deliver a large-scale typographical expression of our work. Welcome what may first appear as chaos; reorder and flip the tabloid to play, to puzzle together, to wonder.



Melanie Chappuis


Composition of the Planets

I produced a piece of music called “Composition of the Planets” to represent the relationship between planets forming the solar system. This project aims to represent all the sounds of the planets in creating an acoustic environment of the solar system for the visually impaired. They would be able to construct a mental image and understand the environment of the solar system with the “Composition of the Planets”.

Sensory learning experience of Machu Picchu

I created an audio-haptic educational experience based on the Incan citadel called Machu Picchu for the visually impaired. The aim of the experience is to stimulate the learning and demonstrate that the study of the innovation and adaptation of the environment of the Incas can be applicable to modern society. The painting diffuses different sounds when touching the various locations of Machu Picchu describing varied advanced technologies and systems of the Inca’s adaptation to the environment.



Imogen Chandulal


One of my final major projects was a zine referencing punk subculture, aimed to encourage self liberation and exploration among adolescents. Through highlighting the opportunity for creativity, specifically through self-image, I aim to inspire adolescents to explore their creative potential to evoke confidence and self worth. I particularly focused 1970’s British punk throughout this project as I believe this subculture carries a sense of raw liberation and rebellion that is uniquely exciting, which I hoped to capture in my zine. 



Lewis Fry


'The Erasure Issue', is a proposed design intervention. It takes the form of an informative corporate gift package. The intention is to urge corporate professionals behind brands within the creative industry to consider their relationship with queer representation in branding and advertising. The intervention takes the form of an informative package; disguised as a corporate gift that uses the voices of trans and non-binary participants to provide insight into what can be done to provide more adequate and authentic representation. The package consists of an informative newspaper style publication and a bespoke gift for the recipient. Designed to ‘manifest the capacities’, of relations between brands and the queer community; the information emphasised within the package is intended to stress the importance of representation and show how it directly correlates and impacts the issues of erasure and marginalisation within the queer community. 

The package consists mainly of an informative and thought provoking newspaper publication and a bespoke gift for the recipients.  The rationale behind the idea of sending a gift is that 'corporate gifts' are commonly used to manifest and build relations between corporations and clients and/or consumers, for example when companies have giveaways, reward loyal customers with gifts or give away free products. This project aims to flip the script and send a gift to corporations on behalf of an audience that is both inadequately and inauthentically 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 this audience is to be respected through positioning the audience in terms of status through semitiotics. 

The newspaper consists of a wide range of Trans and non binary views on the topic, which are then juxtaposed with statistics which aims to highlight why authentic and positive queer representation in branding and advertising is so important in tackling erasure and ongoing marginalisation.

The gift is designed to unfold and play a summative role in regards to the information presented throughout the package. The packaging for the gift (a fragrance: A nod to an industry that is incredibly imposing of binaries) unfolds into a range of summative posters, consisting of interview questions and answers from the newspaper and pairing these with the manifesto, acting as a snapshot/ conclusion for the package.

'Same' is a social design project that was provoked by the continued erasure of queer identities from education and the effects this can have on the development of a wider range of social identities. The project consists of a discreet mobile app that provides LGBT teenagers with educational queer related content such as sex education that is often erased from school curriculums. The app also aims to provide a safe space for queer teens; through live and interactive content. Also included is a corresponding widespread campaign to promote the app and directly reach the demographic of queer and questioning teens.