Skip to main content

Spotlight On: PGDip/Cert Design for Visual Communication – LCC Degree Shows 2018


Written by
Dayna McAlpine
Published date
15 June 2018

Postgraduate Diploma Design for Visual Communication and Postgraduate Certificate Design for Visual Communication engage with research methodology; practical design principles; and the related design theories to provide a holistic education in the design process.

Graduates from both the part-time and full-time modules from a broad cultural background have achieved success as authors; designers within high profile design consultancies; proprietors of their own practices; and experts within subject disciplines such as data visualisation. The course encourages a critical and challenging exploration of visual communication unconstrained by media or default thinking. We believe that the resolution of increasingly complex visual communication problems is rooted in an understanding of basic design concepts.

This year’s line-up of work will be exhibited in LCC Degree Shows 2018: Show 2, 21–23 June 2018.

Here we shine a spotlight on some of the projects on show…

Helen Rowley

‘Visual Language Poster Series’

‘Taking the idea of shape and colour literally my Visual Language and Grammar project played with the idea of displacement and saturation across the poster series. The engraved background provides a constant along with the bright pink and I used layered foam board to give added height to the protruding shapes. I have a PhD in orchestral musical composition and the concept of working with theme and motif has transferred to my visual designs. My posters re-use and re-work shapes in a serialist kind of way, using argumentation, diminution, retrograde and inversion to create rhythmic movement over the three posters.’

Khutina Griffiths
‘Visual Language Poster Series’

Using dynamic linear formations to demonstrate kinetic states, Khutina’s work was produced with the sense of being caught in a moment in the forefront of her mind. By reducing the impact of typography and allowing the complex nature of the graphic to dominate (whilst being further enhanced by a graduated analogous colour pallet), Khutina’s work presents control whilst also being engaging.

Maria Brosnan

‘Joined the Heavenly Chorus’

‘Thirty four ways to avoid saying the word ‘Died’; found in the graveyard of St Mary’s Church, Perivale. I came to this course from a background of working as a photographer and previously teaching English; this poster combines both of these disciplines. Looking at the language on the gravestones I found it really interesting how many different phrases were used instead of the word ‘died’, some more poetic, some a lot more graphic. I put them in a spreadsheet along with the dates they were used and found some of them had a clear pattern. The poster also includes a little about the history of the graveyard and four of the most commonly used phrases.’

Eva Ohayon

‘The Red Thread Exhibition’

Eva Ohayon explores book arts through exhibition design. In a digital world, this exhibition is engaging the audience with book design and its evolution through time. From Jan Tschichold’s Essays on Morality of Good Design to Roger Fawcett-Tang’s Experimental Formats, the form of the book has been transforming – playing constantly with its duality between modernism and traditionalism. The audience is invited to follow the red thread – symbolising the binding – through an immersive paper structure making the link between tradition and modernism, rough material and refinement. The paper structure allows a sensorial journey enhanced by digital equipment, access to publications on shelves and a hands-on workshop.

Olfa Farhat

‘Professional and Academic Contexts publication’

‘This hand-assembled A3 portrait publication was the outcome of an assignment given in the context of the postgraduate diploma course for visual communication. It takes its contents from presentations we had by design practitioners whose work is situated in either an academic or professional context. I identified key quotes during the presentations and engaged in discussions with them to get an in-depth insight into their work. This is an image-led publications with short bodies of texts that exposes the speaker’s designs and the way they work and think.’

Rajlaxmi Jain

‘Reflective Journal’

‘This publication contains critical reflections and visual experiments undertaken for the secret envelope task and my experiences on the collaboration with Letterpress practitioner, Kelvyn Smith and Book Arts technician, Rahel Zoller. It displays my practical and hands-on approach to the collaborative unit and my learnings from it. I engaged in open-ended​ experimentation without any speculations of the outcome; the focus was on exploration of new materials, media and processes. Attending the collaborative workshop with external practitioners helped me exhibit judgement and technical skill towards the final outcome.’

Find out more about LCC Degree Shows 2018: Show 2.