we are digital communication design
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dcd.io@dcd_uca
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WE AREDIGITALCOMMUNICATIONDESIGN
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10 About12 Visiting Lectures18 Workshops22 Browser 2.0
Course Culture Students
26 Directory of Students82 Credits
Contents
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“The [designers] of our time are not taking the world at face value, as a given from the outside; rather, they see the world as something you can pry open, something you can tinker with.” (Marleen Stikker)
In this first year of becoming Digital Communication Design we are in the process of redefining our identities – both in terms of our graduating students and in turn, the course.
Design practice is undergoing a major transformation – a paradigm shift even. Digital technology is disruptive technology, it has not only changed how we communicate with each other and our environment, but also how we produce, distribute and consume culture. Technological developments have enabled unprecedented access to content and its structures allowing us to view, produce, modify and consume
it in myriad new ways – this has consequences for design education and design industry. This course seeks to be at the forefront of this change and to produce designers capable of adapting and critically engaging with it.
We continue to push the boundaries of our practice and challenge what design practice is and can be. Our graduating students are making a shift from the world of study to the world beyond seeking to further define their personal design identities and ambitions. Their projects are defined by an openness to experimentation that has been commended by our external examiner Irini Papadimitriou (Digital Programmes Manager, V&A and external examiner) and question the current status quo in terms of what digital design practice can be and how it relates to a wider social and cultural context.
In this publication we introduce our graduates of 2014 and the projects, which start to define them as critical participants in this challenging new design world. You will also see documentation of some of the events staged by professional practitioners at the forefront of our practice who are helping us define what we are.
I congratulate our graduating Students on their achievements and successes so far and most importantly I look forward to hearing about their adventures yet to come.
Dr. Eva VerhoevenCourse Leader
We are Digital Communication Design
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Course Culture
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The Digital Communication Design course explores and critically investigates the creative potential of current and emerging technologies in the context of communication design practice. It seeks to place graduates with a specialised skill set where developments in technology are exploited in interesting and exciting new ways in the service of communication and media design.
One of the defining features of the course is its relationship with technology. The course is particularly designed to explore the consequences and opportunities offered to both media and design discourse and practice, by technological developments. This requires both a critical approach to emergent technologies as well as an understanding of their cultural and social implications.
Our graduates produce socially active work that responds to a dynamic and networked world that is alive to evolution through user engagement and social media. We believe that as society embraces design and media processes in increasing amounts, design practitioners have a duty to understand their influence in shaping the cultural landscape and norms of practice.
We encourage experimentation and believe that experimentation facilitates innovation. This belief in making talks to our heritage as an art school and we draw on a rich tradition of studio-based making. Making is thinking and to this end we provide a curriculum rich in opportunities to experiment with complex media processes. Through expert led workshops and seminars, students can become expert in niche and experimental areas.
The course is dedicated to fostering the independent, creative and inquiring mind, providing opportunities to develop critical and analytical skills while gaining the theoretical and practical skills necessary to work within this intense yet challenging design arena. The course ensures that graduates join a community of practice and are equipped with the skills to continue learning and developing in both life and work.
Find out more about the course:dcd.io
BA (Hons) Digital Communication Design
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One of the key aspects of the Digital Communication Design course culture is our annual programme of lectures, workshops and trips. This year we held an event every other Thursday evening throughout the year, inviting our alumni (now industry professionals themselves) to talk about their industry experience and life after college. Our students gained an insight into what it takes to freelance, work for a larger design company and setting up your own design company – as well as studying at postgraduate level.
These talks were highly beneficial for our students and for the course, which maintains a strong connection with its alumni to grow a strong course culture that does not end when you graduate.
We would like to thank all of our speakers for giving up their time and telling us about their experiences.
Jamie Shoard As a recent graduate Jamie spoke about his third year experience. He now works for Amazon as a digital designer after being introduced to one of our alumni at our degree show private view last year.
Michael Pinney Mike talked about his rollercoaster experiences before finding a job he really loves at blinkbox as a UI/UX Designer.
Ross Cubbon Ross spoke about his career since joining Pushbutton in 2010, which was subsequently acquired by Amazon and the design internship program he started.
Miguel Rato Miguel talked about his experience working at a company whilst still finishing his third year study. He also talked about the rapid learning curve in industry he experienced after graduating.
Tom Mac Tom spoke about how he divides his time between paid digital design work and his passion – illustration - since graduating in 2012.
Thom Lambert Thom talked about finding a balance between work and happiness, reinforcing some of the points Tom Mac spoke of previously.
Luke Watts Luke presented an insightful lecture about the top 10 mistakes he makes on a daily basis.
Oliver Smith Olly wrapped up the alumni lecture programme for 2013/14 by offering us an insight to an alternative path after graduating. Olly is currently studying on the MA Information Experience Design at the Royal College of Art.
Watch recordings of these lectures:dcd.io/lectures
Visiting Lecturers
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Since 2012 he has been building the School of Communication Design here at UCA.
Our students took a lot of inspiration from his honest reflection of his journey and his experimental and open-ended approach to design practice.
Watch a recording of this lecture:dcd.io/lectures
Find out more about Jamie Dobson:jamiedobson.com
On Thursday the 9th of January our lecture programme started with a talk by our Head of School Jamie Dobson, a freelance artist, designer and photographer working for many well-known commercial clients like Adobe and Sony.
Jamie, who is not always that visible to our students, took the opportunity to reflect on his career and talk to our students about journeys that are not always clearly laid out or straight forward.
Coming from a family fishermen, builders, and shopkeepers “it was never an expectation that [he] might go to University” and after studying for his National Diploma at Great Yarmouth School of Art, where he developed experimental work, he decided to study architecture at the Kingston University.
While at Kingston he continued to develop experimental devices, exploring ideas of what is now considered Speculative Design. This did not fit happily into commercial architectural practice. It wasn’t until a year later that he decided to “toe the line”, updated his portfolio and took a job for Nick Evans Architects where he was co-incidentally involved in aspects of the design of the John Luard building at UCA Farnham.
Designing a book and exhibition Made of Light: The Art of Light and Architecture while he was working at Spiers + Major made him reconsider his practice and he applied to study the MA Communication Design at Central Saint Martins in the hopes of “becoming an expert in typography” – while ending up constructing more experimental devices and speculative design practice and finding innovative ways of applying his practice.
Jamie Dobson
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On Thursday 27th March 2014 we welcomed Daniel Charny, Professor of Design at Kingston University to give a talk to our students as part of the Digital Communication Design visiting lecturer program.
DIY Maker culture is a theme throughout Charny’s practice since his seminal work as curator of the 2011 Victoria & Albert museum exhibition The Power of Making. He has since collaborated with James Carrigan, on FIXPERTS a project developed to encourage problem-solving design that demonstrates the use of imagination and skills through fixing.
Currently his creative consultancy practice From Now On is working with the British Council Connect ZA team to launch the The Maker Library Network. The Maker Library Network is a series of environments across South Africa and the UK combining a makerspace, gallery and library with weekly activities promoting the maker community.
During his talk Charny spoke at length about the processes involved in the curation of The Power of Making Exhibition, the back-story behind FIXPERTS and the ongoing development of The Maker Library Network in relation to his own interests.
Watch a recording of this lecture:dcd.io/lectures
Find out more about Daniel Charny:danielcharny.com
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The Digital Communication Design course was successful in applying for funding from the UCA Creative Residency fund to invite Andy Ellis and Chris Mount, audio/visual artists at Fade In Fade Out to hold a two-day workshop, talk and live VJing demo for UCA students.
Over the course of the two-day workshop, which was held on Wednesday 22nd and Thursday 23rd, January 2014 students from across UCA were taken through the process of creating motion graphics ready for a live VJ set using Resolume Avenue VJ.
The workshop introduced students to a new way of working – with VJing the output is a live performance, so a large amount of preparation and rehearsal is required up front. Multiple clips are layered in real-time to create
the visual output. This means new way of working really opened up new avenues for students who had an interest in motion graphics work.
The workshop culminated in a spectacular live public demo of the student’s work that was projected on to the exterior of the main entrance to the campus. The Mayor of Epsom & Ewell joined us, along with local residents, staff and students for an evening of refreshments and a live visual performances.
Watch a recording of this event:dcd.io/lectures
Find out more about Fade In Fade Out:fadeinfadeout.co.uk
Projection Mapping Workshop & LectureFade In Fade Out
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As part of the Digital Communication Design visiting lecturer program we welcomed Pete Hellicar and Joel Gethen Lewis (Hellicar&Lewis) to hold a one-day workshop and talk for our students on Friday 7th, February 2014.
The workshop aimed to take students away from computers and into the physical world of paper prototyping in order to generate ideas. Students were set a series of short briefs and starting with simple technological propositions, were asked to invent, prototype and pitch an idea within a short amount of time.
The workshop forced students to think on their feet and find new ways to approach idea generation, prototyping, iteration and presentation. It was a very enjoyable day and students thoroughly enjoyed the challenge.
At the end of the day students were invited to a lecture by Pete and Joel during which they talked through some of their work.
Watch a recording of this event:dcd.io/lectures
Find out more about Hellicar&Lewis:hellicarandlewis.com
Paper Prototyping Workshop & Lecture Hellicar&Lewis
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Every year we experiment with the format and presentation of our graduate shows. Last year during the build up to the show, students proposed the idea of creating an interactive directory for browsing student work in the exhibition. This idea was developed by students and staff to create an Interactive Browser.
Browser 1.0 utilised a set of specially printed business cards, featuring an image of the students work on the front. On the back was their name, website and a computer vision marker that allowed the browser to decode which students card was inserted and display a scrollable window of their work.
Last years system used a multitude of disparate technologies, including Processing, Arduino, Node.js and Chrome connected together using
WebSockets and OSC (Open Sound Control) all running on Ubuntu Linux. This made for a large, complex and relatively unstable software stack. This year we have opted to reduce the complexity of the system, whilst maintaining the same essential features.
Browser 2.0 developed by Digital Communication Design graduate Tom Lynch utilises the Leap Motion, 3D motion controller that detects hand gestures in free space using IR light and cameras coupled with computer vision. The effect is akin to those of science fiction film Minority Report (2002). This motion data is piped directly into Google Chrome through the Leap.js interface library, where Paper.js renders the on-screen GUI on the HTML 5 Canvas. This dramatically simplified software stack offers the same level of functionality, but a reduced technical burden.
The source code of the implementation is MIT licensed and hosted on GitHub.
Fork the code:github.com/dcd-uca/browser-2.0
Find out more about Tom Lynch:tomlynch.co.uk
Browser 2.0
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Students
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DeceiveWith the recent NSA scandals making their way into the public eye, it appears that nearly every part of our digital life has the potential of being tracked and recorded. As people such as Edward Snowden have leaked these shocking truths out onto the world, we must re-evaluate our digital lives and fight to protect our information making it private and secure. As the social, financial and personal areas of our lives become increasingly reliant on technology, the personal information that is embedded within these structures has the risk of slipping away from our grasp.
As technological advances increase, the vital information that we hold dear is in constant jeopardy from being stolen, monitored and tracked. From digital data has the ability to be remotely extracted from objects such as bank cards, to biological data, it can be collated to generate an accurate profile of a human. The amount of data
that we unwillingly leak is continuously rising, in turn making us more vulnerable as a society. The notion of Big Brother is becoming an increasing reality and our ability to refute this reality becomes ever more difficult by society’s reliance on technology.
In this publication the methods, equipment and motives of digital surveillance will be explored. Detailing how much of our personal information is being tracked and how it is possible to protect it.
Jack Waldenjwalden.org
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and journeys recollected by various people, covered with a block of black thermochromic ink that disappears when touched, the ink changes from black to transparent revealing the images underneath, then as it cools back to room temperature the ink once again covers the image until it is touched upon again – like memories.
The second outcome is a small publication that gives an insight into different perspectives on memory, from scientific facts and philosophy to poetry; this variety of information is supported with photography and visual elements throughout. It is a collection of information to enhance the viewer’s knowledge of memory and consideration of such an incredible ability.
BethinkRecollection is an amazing process, which allows us to achieve everything we do day in and day out. Our memory stores all our daily functions from walking to professional skills, it conserves past experiences and has the ability to piece together images to form imagination. Bethink is a project that looks into how memories are stored, recalled and used, giving us the ability to look back, act in the present and imagine the future. It is a research based investigation into the science, philosophy, and the real experience of such a complex and fascinating element to our being.
The first of two outcomes is a collection of interactive posters, which convey a message about how memories are stored and lay dormant in our minds, but at any given moment can be recalled and brought forth into the present, these memories then fade back until they are next recalled. The posters contain a collection of places
LouiseAshleylouiseashley.co.uk
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scale computation. The intangible is produced through handmade creative craftsmanship, and repurposing, to make a visual as well as physical experience. Theoretical constructs that are orient towards innovative technology will be paired with speculative handmade experiences.
Phantom GesturesPhantom Gestures is the experimental discourse, and demarcation of intersecting visual arts theories, and conceptual models through a making practice. The speculative design artefacts are posited before the impending cosmogram of digital and physical material coalescence - our passage towards mature alienation and post-humanism. There will be the production of ‘phantom gestures’ - gestures that are futural phantoms plucked from their native environment. Drawing on theories such as the post-anthropocene, the stack, and prometheanism,
It is becoming progressively more necessary to prototype for anticipated futures or possibilities through concepts, fictions and ideas. The experimental artefacts communicate metaphors whilst investigating our commitments to humanism, the elaboration of our extensions, and the pervasion of ubiquitous planetary
Sam Whiffingsamwhiffing.co.uk
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Manifesto
BourgeoisieAs a digital designer, digital-crafter-maker 3, writer, and developer, I preserve a desire and commitment, to contribute my skills outside of the confining context of stimulating, bourgeois, consumer orientated experiences, and capital 2, where we often find ourselves embedded, retrograde, and impotent.
PracticeI advocate practice, skills, and imaginary as the apparatus that pierces the barriers that are encountered by theory 5. Understanding that theory is a relay between the nodes of practices, whilst practice is an array of relays from one theoretical node to another 5. Practice is an iterative and interrogative critique of theory, not an illustration there of.
HylomorphismI perpetuate a belief that we should change culture to suit us, in opposition to changing us to suit culture 4. With hylomorphism, the metaphysics 7 of humanity can be understood as a compound of matter and form. It is only through Promethean political mastery over society, and its environment that a competent management of globalisation, and defeat of capital is fruitive 9.
FooterIn the heir of open practice, I have cited the following authors and texts that I have assimilated, plundered, or hacked whilst constructing this manifesto. So that someone else may compose a better incantation of their own conviction from my sources.
1 Bratton, B. 2nd Reply to Patrik Schumacher.
2 Barnbrook, J. First Things First Manifesto 2000.
3 Charny, D. Power of Making.
4 Dunne & Raby. A / B.
5 Kay, J. Intellectuals and power: A conversation between Michel Foucault and Gilles Deleuze.
6 Mau, B. An Incomplete Manifesto for Growth.
7 Negarestani, R. The Labor of the Inhuman, Part I: Human.
8 Toscano, A. The Prejudice against Prometheus.
9 Williams, A & Srnieck, N. #Accelerate Manifesto.
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Pop-up TransformationMargate is a town on the Kentish coast with a rich tradition and heritage, but unfortunately, the town has become deteriorated and neglected. Investment in restoring the town as a whole is currently in progress, but being in an economic downfall, the lack of investment and time has delayed the re-structuring.
The project plans to look at social interaction within various parts of the town, by allowing one to challenge the norm of daily life. As a pop up transformation, the device is able to spring up in areas that may look mundane or insufficient. By manipulating the fishing rod, and controlling it from different perspectives, the device creates an air of speculation about who is controlling it. Mapping the movement of human traffic showed the most suitable areas in which the device could be executed.
Retrieving messages from a physical and visual nature gave the user a chance to create a unique souvenir of Margate that was personal to them. Collecting the artefacts within an old tin purchased from the town allowed one to see peoples’ outlook of what they think of Margate.
AntoniosPapadimascargocollective.com/apapadimas
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Technology With EmotionThis is a research led investigation into the future of everyday technology. The project explores a positive view on future technology intelligence. Technology has aided humans for so long, and is relied upon, daily, but nothing is given in return. The aim of the project is to introduce the possibility of digital devices having emotions, similar to humans and wanting love and affection. In return, the user receives stored data such as photos, contacts, messages and emails. Instead of using the future intelligence of technology to scare and create fear amongst consumers, one of the main ambitions for this project was to create a fun, interactive series of experiments and designs that introduces new creative future possibilities, and explore the good that can come from fast moving technology.
Throughout this project, the changing relationship with the designed world is uncovered, and explores the new emerging technologies that will become the future. This project also explores the relationship humans have with digital technology on a daily basis. What if Technology had Emotion? - a speculative design project that examines technology, science and future research, as well as communicating a complex subject in an engaging way. The investigation challenges our assumptions of technology intelligence and encourages viewers to imagine a future reality.
Amy Forrestamyforrest.me
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PlayPlay is a collaborative real time project that allows people to easily make fun creative music through easily relatable toys. The definition of play I landed on was an environment that involves creativity. Music lends itself to this environment really well and encapsulates play in its truest form, so making a foundation for people to explore their curiosities and there interest in music generation was a way of seeing if this idea of play can be created.
To give the tone of interaction and also of fun, I used well known toys to be the controllers of the music, while a webcam and a computer processes the information that is created by the installation.
Jonathan Thawjthaw.me
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body is the next step. The letters were made through extraction and abstraction. The type is purposely meant to be indistinguishable to a modern day audience. The initial symbols are a “word compound” – a series of letters in a word overlapping to form one symbol. That word is registered by the device then expands upon that compound by showing the individual letters in the word.
This project works in the parameters of what is plausible, borderline possible. The project has no intention of illustrating what future type and typography will look like, it’s intention is to generate conversation and discussion as how to move forward in making cutting edge and experimental typography that fully embraces the ever-changing digital medium.
Speculative TypographyThe speculative world in which this type is set is based on an exaggeration of this current world. The demonstration fabricates a condition where information is absorbed, comprehended and acted upon in rapid succession. This amplifies the idea of the rapid Information age we already live in. Even the distance between the implant and the index finger is roughly the same distance people carry touch screens. This action would not only seem, familiar but also magnifies the growing trend of touch-activated technology. The implant itself deals with altering the vision and the eye, only by doing this can the type be more experimental. The implant has a dual purpose, as it answers to the current trend of wearable technology. With the lines dividing humans from robots become ever blurrier, giving way to an already growing cyborg culture, implanting into the human
Emmanuel [email protected]
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Gender DiversityDevelopments of human rights over the last few decades are outstanding, however, as a society transphobia is still a crucial problem that needs to be addressed. The project investigates this issue through social design, by creating an advertisement that directly targets individuals, in intimate spaces, through facial recognition and interactive advertising. The aim of this advertising technique is to help society understand that transphobic language, actions, questions and comments are just as inappropriate towards cisgendered individuals, as they are to trans* individuals.
Social design allows us to educate society about issues that are important and in this case, are often overlooked. For this project, not only do the aims include awareness of transphobia, but also of gender variation. The shocking statements used in this campaign reflect inappropriate language, commonly directed towards
trans* individuals. Primary research has allowed this project to develop a purpose, as trans* interviewees have expressed their concerns for society’s obsession with genitals, and how this supposedly defines us.
The campaign reflects the cisgender privilege that society seems to express as acceptable – the ability to ask inappropriate questions to trans* individuals, yet finding it uncomfortable when we are asked the same questions. The project epitomises the quote “treat others how you wish to be treated”. This is a problematic issue for the trans* community, who often express their fears of safety in non-gender variant spaces, not just for transphobia violence, but for questioning of their identity. 21st century society continuously emphasises that our appearance does not define us, therefore the same should be said for what is between our legs.
StephanieBryan-Kinnsstephaniebk.co.uk
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(un)FriendlyThe project is focused on the idea of changing the way users interact with user interfaces, which have now become so prominent in today’s society. It is a critical look at how the line between digital and physical has become increasingly blurred. Offering a way for users to realise how the user interface design patterns of today have influenced their behaviour, and what has become expected of them. This project, as a metaphor, aims to imitate translating these incumbent actions, inherited from the user experience of mobile devices from the digital world, with the expectation that an idea should influence the real world. Subversion of these real world metaphors encourages a critical look at their application from one realm to another.
Manifesting into a set of guidelines that outline the issues of the over intuitive, user friendly and transparent nature of the UI experience of today. Proposing a set of ideas that can break, frustrate and expose the metaphors and expectations digital devices have created.
Joe Williamsjoew.me
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Unconscious BaggageThis project was a film exploration into the nonsensical world of dreams and how we all carry unconscious baggage that opens up during REM sleep. Each night, as we close our eyes and slip away from the waking world, we may enter the illusive realm of dreams. But how do we get there? How do we travel beyond that horizon of reality? In dreams, we will enter a type of infinite space, full of manipulation and imagination. Your brain is working hard to filter such an intake of information, such as past events, feelings, objects, people and memories. Your body, however, is completely still and calm.
Nature chooses to take away the control you have of your own body, in order to makes us watch these insane narratives unfold. In dreams, the co-ordinates of reality becomes uncanny, and the paradoxical relationship between the dreamer and the dream begins to create the strangeness we experience only in dreams.
This is why, in dreams, we can experience such intense narratives, which can become so terrible, but so terrific at the same time. Thus, eventually, we want to escape from them, and when we do, we find ourselves questioning whether it really happened. Or was it just a dream? These are manipulations that only occur in dreams. Only in dreams.
EmmaLavenderemmalavender.co.uk
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Changes‘Changes’ presents a magazine exploring childhood fantasy in comparison to the realities of adulthood, showing the story of fantasy and reality through a series of photographs. The aim was to capture the viewer, and grasp the concept of what it would be like if changes were to happen. Seeing a short story through photography, displaying reality and fantasy in exchange for one another, leaving reality behind for just a few moments. This project explores the idea of being your own boss and independency - the day every child dreams of. Yet, facing reality does not always meet up to your childhood expectations.
JessMurphyjessmurphy.co.uk
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Das UnheimlicheDas Unheimliche is a collaborative visual research project. Our film aims to evoke an emotional response from a viewer by creating a connection with the humanity of the character and then consistently breaking that connection. The project plays on the aspect of human nature that causes us to relate and attempt to empathise with a fellow human.
The film blurs the line between subject and object. It is designed to create uncertainty and confusion toward the actor. Humans are both object and subject, this is what is familiar to us, to portray something as not quite either promotes an uncomfortable reaction. By constantly changing the nature of the character in the film, doubt is instilled and the audience are forced into a situation of cognitive dissonance.
The film is abstract and disjointed by design. To introduce the audience to emotions associated with the uncanny we have employed unpredictable and visually striking video effects, with a focus on displacing footage through a technique called Datamosh. To compliment the video we have used deep, atmospheric sound design, including a phenomenon known as infrasound.
ThomAnnisonthomannison.com
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Das UnheimlicheDas Unheimliche is an experimental film exploring the theory of the uncanny and ideas surrounding familiarity. Presented as a film, it is intended as a conceptual piece, rather than a piece of entertainment, and to evoke an emotional response. The film represents an ambiguous character who has become almost unrecognisable through the use of distorting and destructive editing techniques to blur the lines between subject and object. The objective was to create a feeling of cognitive dissonance, through our art. We want to play on our audiences instinctive nature to try and relate to the humanoid character by present it in an unfamiliar form.
Roberto Pé[email protected]
rbpz.co
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When it came to visualizing the sound sequence, the continuous repetition of the audio samples and the audio composition as an entity allowed me to focus on the fine details of the sound and translate it to what seemed like a fitting visual for it, creating the final outcome which is επαφή.(contact).
Contactεπαφή.(contact) is a short animation based on the connection of sound and image. The project is a sound effect composition that works as a stepping stone for, but not only, abstract imagery to develop. It is a raw, unprocessed interpretation of sound, expressed and documented with moving image. It is an invitation for sound-triggered imagination and brain stimulation. More than thirty unique sound samples were distorted, glitched and put together, in order to compose the sound sequence, which is used as a guide for “contact”. The unified eerie feel of the audio samples and sound effects used helps achieve the desired outcome acoustically, but also visually, when the animations and imagery start to develop.
Dimitrios Vasdekisdimvsd.me
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Visualising AudioVisualising audio is a hybrid mix of two senses - vision and sound. This project explores the modernisation of cymatic patterns. Using audio frequency and studying sound waves, this project shows a designed audio equalizer that is specifically designed for music using electronic sounds.
The project was created using Adobe After Effects with both visuals and sound being created in Trapcode. Soundkeys was used to monitor the waveform sound into a visual form. The project would be projected as an installation. One of the pioneers for this project is Carsten Nicolai - a sound artist who works with visual art as forms of installations.
PatrickHobleypatrick.hobley.me
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Channel BoomBoom is a platform that is intended to inspire, promote and inform young and upcoming designers about new media disciplines, such as motion graphics and digital interaction. The concept of having a TV channel promoting upcoming designers’ work in this field resulted in producing idents that would reflect the contemporary feel and identity of Boom. The idents feature animated 3D abstract geometric shapes, and typography exploding and growing, which in turn reflects the channel’s contemporary feel. The idents also act as a visual metaphor for the brand’s name ‘Boom’, and the channel’s aim of assisting young designers to emerge. The ident features Boom’s catch phrase ‘unleash your creativity’, which also acts as a visual metaphor for Boom’s brand values.
Alan Richardsonalancreative.co.uk
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The idea behind this film is that humans want a narrative, even though it may not be real. The narrative in this film is told by news clips, creating an air of panic, which was needed in the film. Experiments with ink were filmed to get the visual fell of a virus breaking out. The old film and black leader that has been scratched and bleached created a ghost effect that was used at the beginning and end of the film.
Narrative NeedExperimental film, also known as avant-garde, underground is explored in this project, incorporating different styles from the practices of mainstream commercial and documentary film-making. Experimental film differs so much from the well-known Hollywood and mainstream films, even though the Hollywood films have been a big part in film history and have entertained a huge audience. Experimental film is more than telling a story – it is about showing and visualising what is in front of you. The project does differ from experimental film, because it has a loose narrative by creating a false sense of the end of the world, using out of context materials such as news clips, digital footage, old film and experiments with ink.
Jamielee [email protected]
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Car HackingThis project explores hacker and maker culture, and automotive mechanics. These were interesting to explore, not only as a personal passion, but also as a desire to experiment with how far hacking a car can actually go. Additionally, the similarities and differences between virtual and physical reality are investigated. There were in-depth experiments throughout this project, alongside supported research, with an end goal of producing a working, ECU hacking tool that works remotely through a games console controller. Thus, allowing the user to control a real car by remote control, with a video supporting this evidence. It is not just the car’s fundamental controls that are tested during this project, but also almost every electrical function from electric windows, central locking and lights, to power steering and anti-lock brakes.
Luke Fanthorpeloopfilms.co.uk
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Give Mobile Phones a RestThis project aims to provoke users to think about how they use their smart phones, especially in social situations. Thus, shedding light on the negative problems that they can cause. The proposed campaign is called “Give mobile phones a rest”, showing human interactions with mobiles from the phone’s point of view. This campaign focuses on the negative behaviour that people with smart phones often exhibit and comprises of a responsive website, posters and an app.
EloiseRansonthisiseloise.co.uk
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The Future is Here“The Future is Here” is inspired by the use of social media and technology, exploring the way we use social media, and how much of it we use. Individually we roughly have an idea of how long we spend on Facebook or Instagram, however, one would be surprised by the stats, naturally assuming it would be more.
This application helps the visualization of data, spread out on all social media sites assigned to your email address. You are also able to enter your date of birth to see who uses the app in your age range, and allows you to compare your world to theirs.
Akin Cankorurakincankorur.co.uk
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Perceived RealityIt is easy to make assumptions when thinking about what it means to have a phantom limb from a typical biomedical perspective. This project shows how one could use different methods and technical tools to stimulate feelings and thoughts to an audience. Rather just telling them what it would feel like to lose a limb, the project interacts with the installation to actually give them the chance to feel what it is like have a limb missing, and feel like it is still there. Its purpose is to push boundaries in our ever increasing virtual world.
This is explored by creating a phantom mirror that does not show a limb. The whole idea is to understand how people perceive something with their own eyes. By seeing their limbs missing from their reflection, do people question that what we see is real? Obviously, we know we still have our limb intact but do we question why it does not show on the screen?
Yamin [email protected]
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Personal PerspectiveThe spark for ‘Personal Perspective’ was predicting that a lot of young women were starting to dislike minor parts of themselves that others may not even notice. The targeted issue is defining what beauty really is, and how young women get hooked on what is shown on the outside, rather than what is on the inside. “Beauty is in the eye of the beholder” is a favourite adage quoted by many to explain for this discrepancy. In reality, while the quote is partially true, beauty is not relative or subject to our human whim - it is an ideal created. This project focused on “beauty is in the eye of the beholder”, because the minor ‘faults’ on our bodies, may be seen by others as very minor, or maybe even non-existent.
Personal Perspective explores the self esteem issues in a woman’s personal self, but also shows what others actually see. Each individual was invited to play, what they thought, was a guessing game. The game was set up to trick the player into thinking that the pack of cards consisted of women from the celebrity world, mutual Facebook friends, or class mates. However, the pile of cards consisted of information of the player. This was to find out what the player really thinks about themselves.
Jade Wilsonjade-wilson.co.uk
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True BeautyThis project is all about inspiring and encouraging people to love themselves, and the skin that they are in. Research aided the investigation of finding out that many people look to the media, to models and celebrities, to see exactly what beauty is, and how they can attain it. It seems as if there is a box in which beauty is put in - you have to be a certain size or weight, you have to have a straight cute nose, with long hair, quite tall and a long neck, not forgetting flawless smooth skin. Most of these attributes are not attainable, and are corrected through software, such as Photoshop for adverts and magazines, which makes people believe that it is possible to look a certain way, and if they do not, they are not good enough. The media portrays beauty in such as way that people try and invest in different things, such as hair extensions, plastic surgery, makeup, false eyelashes, and so much more, just to look perfect or beautiful - feeling that without these things, they
are not beautiful. This project does not say that wearing these things is wrong, rather that you should not place your beauty in the things that you buy to look perfect and be accepted. Rather, it tries to redefine beauty, as you are beautiful, without the makeup, without all the plastic surgery, hair extensions, high heeled shoes – you are beautiful no matter what your age, no matter what you like, how your skin looks like, what shape or size you are. You should feel comfortable, proud, and confident in the skin you are in.
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Why so Selfie?The concept behind the project is a photo editing application specifically focused on ‘selfies’, but not limited to them. The app has two different sides the user can choose to use; light and dark. The first side is pro-selfie and light hearted, titled the ‘Super Selfie’ section. Here, users can choose to add positive captions, cartoon characters or turn their selfies into a nice, simple puzzle game. This positive, light-hearted side focuses on the fun, normal use for selfies - duck face and all - promoting a more positive message about how fun taking selfies can be.
The dark side of the app is more sinister, aimed at thrill seekers and non-selfie takers. It aims to encourage anti-selfie people to take selfies through its use of specific editing tools and options. This darker section allows users to add scary captions, distort their photos and add a selection of monsters into their photos, to simulate
photo bombing, or just create scary looking, fun pictures. This dark side serves the purpose of directing the vain side of selfies into obscurity, and replacing it with an attitude of play and experimentation. This allows users to have fun planning poses, rather than taking the traditional ‘duck face’ and/or ‘I am…#’, creating a fun way to take photos with friends. For example, pretending to be attacked, so they can add a zombie to the photo later, or create funny looking, creatively planned photobombs with the monsters from the app’s selection.
Michelle Everettmichelleeverett.co.uk
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Designers InbetweenDesigners Inbetween is a documentary created and directed in collaboration with award-winning designers. This project explores, discovers and captures the advantages and challenges that designers face in one of the world’s biggest financial capitals - Hong Kong. The documentary explores how its creative industry differs from the West, and the rest of Asia. The project also indicates what lies in the near future for creatives as they become more entrepreneurial.
Jonathan Ramalhodesignersinbetween.com
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CreditsLouise Ashley Thom AnnisonStephanie Bryan-KinnsLuke FanthorpeAmy ForrestEmma LavenderRoberto Pérez Yamin PinidiyAlan RichardsonJonathan ThawJack WaldenJoe WilliamsSam WhiffingDimitrios Vasdekis
Course LeaderDr. Eva Verhoeven
Senior & Sessional LecturersTom LynchTony MayorLaurie Yule
ContactEva VerhoevenCourse LeaderDigital Communication [email protected]
University for the Creative ArtsAshley RoadEpsom,Surrey KT18 5BE
More Informationdcd.ioucreative.ac.uk
Special Thanks
Ex Why Zed for the amazing printing and customer service they provide that make this publication possible.
exwhyzed.co.uk
LA Code & Design for supporting our students developing the show website.
thisis.la
Stephen Morris Shipping for providing transportation to and from Epsom and London.
shipsms.co.uk
Credits
IDEASCULTURESHAVOCSYSTEMSGENERALISTSRULESEXPERIMENTSMISTAKESPROBLEMSPOLYMATHS