The World in Bristol | Bristol Museums

In response to COVID 19, the planned World in Bristol exhibition at Bristol Museum & Art Gallery (originally scheduled for November) has been moved online and is now taking place between June 22-27. This is an this important event which celebrates the diversity of our city.

The Museum is offering to cross promote any material that students or staff may have created for our own channels. If you know of any student or staff work that may be suitable for this event please contact Karen Garvey, Engagement Officer for Events at Bristol Museums and Art Gallery, at Karen.garvey@bristol.gov.uk.

https://www.bristolmuseums.org.uk/bristol-museum-and-art-gallery/whats-on/the-world-in-bristol/

Lottie Johnson wins City ID Award | Outstanding Design Process 2020

The City ID Award for Outstanding Design Process is presented to the Graphic Design student who has demonstrated a robust design process throughout their final project to achieve an exceptional body of work.

 

This year’s winner is Lottie Johnson who receives an award and £500 prize money.

 

Cal Jepps of City ID had this to say:

 

“The standard of work produced this year was amazing, especially in the wake of such unusual circumstances, so all the shortlisted students should be extremely proud of what they have accomplished.

The decision was not an easy one to make, but we felt like Lottie’s exploration of the subject and her evaluation were both really strong, and she ticked all the criteria boxes we were looking for. We were torn between a number of students as they all tackled very different project topics with some beautiful outputs – ultimately Lottie just had that little bit extra in documenting her process fantastically well.”

 

The announcement was made to Lottie online by City ID attended by course leader Colum Leith and Lottie’s 3rd year tutor Carol Stevens.

 

City ID are a Bristol based design agency that develop unique design, information and wayfinding solutions globally to integrate people, movement and places.

 

https://www.lottiejohnsondesign.com/

http://www.cityid.com/

Global Goals Centre | Design Opportunity

Global Goals Centre are looking for young designers to develop a unique new venue in the centre of Bristol, more info at the link below;

https://www.globalgoalscentre.org/youth-design-14

MA Graphic Media Design | OPEN (ONLINE) STUDIO sessions

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MA Graphic Media Design

CONTENTS

OPEN (ONLINE)
common-interest
Imagining Otherwise
Out & About
On a Clear Day…
Thoughts & Care

OPEN (ONLINE) STUDIO

We invite you to join us for a series of OPEN (ONLINE) STUDIO sessions; an opportunity to meet with the course team and participants to learn about the philosophy and intentions of the course.

Current participants will share insights from their research practices and lead a discussion on the opportunities that have encountered throughout the course.

Bookings

The Clive Baillie Scholarship, worth £5,000, is now welcoming applications. Full details of the application and selection process are available here.

Shauna Wilkinson, the recipient of the scholarship this year, shares insights to her experience and her current research:

I was fortunate enough to receive the Clive Baillie Scholarship for the year 2019/20, which has made an incredible difference to both my research and design practice as a practitioner on the MA Graphic Media Design course. My current research explores the idiosyncrasies of Gravesend’s history (my hometown). I am interested in investigating this through the lens of spatial-cultural discourse and place-identity theory, in order to examine the concept of home through tangible design?

PHOTOGRAPH: RESEARCH ARCHIVE, SHAUNA WILKINSON

Welcoming common-interest

We are delighted to welcome common-interest to the ALWFAV team. Corinne Gisel and Nina Pain will join as advisors for volume 4, working with the MA GMD participants and guests towards publication in December 2020.

common-interest is a non-profit design research practice, operating at the intersection of knowledge production, exchange, and mediation. They use design as both a lens to critically look at the world, a tool to bring people together, and as a means to make socially relevant insights public. For them, design research is an activist tool for issue advocacy, collectivity building, and commoning knowledge.

As we progress with plans for the next volume, we invite you to read previous volumes online: Volume 1 / Volume 2 / Volume 3

Whilst we navigate our response to the pandemic, the ALWFAV team continue to accept orders for Volume 3 to be dispatched on our return to LCC in the coming months. Please contact p.bailey@lcc.arts.ac.uk

Otherwise, there is limited stock is available at MagCulture, who also kindly recently featured the publication, announcing:

A really impressive third issue from the MA Graphic Media Design course; this is what independent magazine-making is all about.

TOP IMAGE: FLOWERS FOR IMMIGRATION BY LIZANIA CRUZ AND MONSTERA DELICIOSA BY MANUELA EICHNER, AS SHOWN IN THE DEPARTMENT OF NON-BINARIES, CURATED BY COMMON-INTEREST (NINA PAIM AND CORINNE GISEL WITH NAZ NADDAF) AND PART OF MINISTRY OF GRAPHIC DESIGN: FIKRA GRAPHIC DESIGN BIENNIAL, 2018. PHOTO: PREM KRISHNAMURTHY.

The Reciprocal Studio: Imagining Otherwise

Earlier in the year, we were very pleased and thankful to welcome Haunted MachinesEvening ClassAdaptive Capacity and Paul Elliman to join us for The Reciprocal Studio: Imagining Otherwise workshop series.

Drawing on Carl DiSalvo’s notion of using design to ‘foster knowledge through engagement’, What if Our World is Their Heaven? led by Haunted Machines (Natalie Kane and Tobias Revell) introduced a mixture of critical media and design techniques to identify and speculate on the implications of automated visual culture. Documentation and resources from the workshop are available via Haunted Machines.

Quale, Song led by Paul Elliman intended to raise questions regarding the production of language, and to reconsider communication as a direct feature and function of the body. It set out to remind us that language is reciprocal; the product of a response to something or someone. The workshop considered these values and properties by using song as the productive form. Listen to tracks produced/sourced in the workshop over on Innommable Radio*.

Evening Class guided the participants through a series of exercises, excursions and actions concerned with workers’ inquiries. Driven by an investigation into conditions in education and work Collective Inquiry set out to alleviate the pressures of navigating precarity and provide insights into prototyping alternatives for practice/s.

Climate Conversations hosted by Adaptive Capacity set out to explore the discourse surrounding climate change with a view to developing a range of tools that help (re)position ourselves as communicators, to evolve our own theories, advance/contest the opinions of others and promote successful action on the current climate crisis.

Whilst the workshop period has now concluded, the conversations and actions persist, and are finding form within the participants emergent research projects.

* WITH GREAT THANKS TO ALEXANDRU BALGIU AND THE BA GRAPHIC DESIGN STUDENTS AT ENSBA, LYON FOR THE INVITATION TO JOIN THIS GREAT PROJECT: MORE INFO

MA GMD: Out & About

Laura Dirzyte and Bruna Osthoff share insights into their project ‘Notes on Dynamic interventions’ in a recent interview by Collide 24: Publishing in Times of Information Crisis

Laura Dirzyte has also recently become an editorial contributor at Femme Type – a platform celebrating the work of womxn who are part of the type and typography industry. Features include Jessica HischeMargot Lévêque and most recently Eleni Beveratou.

Jaya Modi, shares insights on her graduate research project E.A.T (Evolution. Aesthetics. Technology) in a recent feature by The Earth Issue.

Daphne Tsang’s ‘poignant graphic design that highlights deeply rooted socio-cultural issues’ is featured by Intern Magazine.

Francisca Roseiro, Masumi Ishii and Antony Price have contributed to €uro-vision, a research project initiated by course correspondents and friends FRAUD. €uro-vision explores the extractivist gaze of the EU’s migration policy and its inscriptive operations on territories and bodies at its peripheries. Further information about the project and opportunities to contribute to the archive here.

On A Clear Day You Can See
The Revolution From Here

MA GMD course leader Paul Bailey recently worked with artists Ben Evan James and Emma Charles on the film titles for ‘On A Clear Day You Can See The Revolution From Here’.

View trailer here.

The film brings into focus Kazakhstan’s search for a post-Soviet identity and a state-sponsored programme of cultural production that on the one hand connects back to the ancient folklore and belief systems of the Silk Road, while on the other, seeks to embrace the values of Western capitalism. Shot on 16mm, the camera is drawn across the landscape taking in locations that include mineral mines, the Eurasian Steppe, the STS decommissioned nuclear site and the newly constructed city of Nur-Sultan.

‘On A Clear Day…’ provides a meditative faux observational film about the continual process of construction involved in nationhood and national identity. A film whose facts are always based on fictions – the ancient myths and folklore of Kazakhstan itself.

The film selected by Visions du Reel Festival in Switzerland will be premiered online 25 April – 2 May.

Thoughts & Care

All welcome to download and distribute the artwork of this Propagate Collective poster + the more recent ‘Keep the Workers Virus Free’ series.

Download

MA GRAPHIC MEDIA DESIGN

MA Graphic Media Design explores the use of graphic design as a critical tool to investigate the complexities of contemporary society.

Through intensive practice-led research, we support our participants to develop a progressive and critical practice – with a view to producing relevant and unexpected perspectives on and for the world.

We are now accepting applications for our October 2020 start. We recommend you apply asap for equal consideration. However, we will consider applications after that date, subject to places being available.

CONTACTPaul Bailey, Course Leader
p.bailey@lcc.arts.ac.uk

@magmdlcc
@LCC_Graphics
www.magmd.uk

Weird and Wonderful Animal Conservation | Charity Branding Brief

Weird and Wonderful Animal Conservation (WAWA Conservation) is a newly formed charitable organisation. It was created to effectively support the conservation of endangered wildlife, primarily through raising funds in the UK. Here at WAWA Conservation we are looking to develop a brand so that we can take our first steps as a recognisable and credible wildlife conservation organisation. We want a brand identity that is simple, effective and bold, showcasing our environmental focus at a first glance.

If you would like to be part of this process we would love to have your artistic input. We would like to invite you to submit a brand design for our organisation. We are offering a payment of £100 for the full development of the chosen design.

ABOUT​ ​US

It’s no secret that the biggest hurdle to carrying out conservation actions is funding. Notably, grant applications take time and effort and are never guaranteed. These can be particularly difficult to obtain for small or new NGOs as they struggle to compete with other more established organisations. Furthermore, securing regular donations takes time and effort and is inconsistent at best.

Having studied and carried out wildlife conservation for several years, our founders have realised that another big issue faced by conservationists is the huge donor bias towards the more charismatic animals (lions, tigers, elephants etc.). The knock on effect of this is that there is an action bias towards those animals. For example, lion conservation is a $2.4bn/year industry, with 20,000 left in the wild. So that works out as about $120k per lion, per year. On the other hand, the Great Green Macaw receives only about $100k/year, with only 3,500 left in the wild. So that’s the equivalent of only $28.58 per bird, per year. This is a clear problem when you consider just how few Great Green Macaws there are left in the wild compared to lions.

The aim of WAWA Conservation is to work in contrast to the sector bias towards charismatic animals, in order to better protect biodiversity as a whole. To do this, we will raise funds in the UK and use them to support conservation interventions globally. We will focus our efforts on protecting species that are particularly important due to either their unique behaviour, genetics, biology; or their important roles in the ecosystem, such as being environmental engineers or keystone species. Essentially, we want to help the weird and wonderful animals rather than just the bright and bold ones.

Our mission is to preserve biodiversity across the globe for future generations to enjoy by supporting the effective, science-based conservation of unique and important wildlife species.

WHY​ ​YOU​ ​SHOULD​ ​TAKE​ ​PART

Wildlife conservation comes in many different forms and each situation needs different people with different skills and tools. While some people like to contribute by donating to organisations like ours, and others like to travel across the world to help out in the field, we believe that anybody can contribute in a meaningful way by simply supporting the cause and providing their own expertise where it is needed. We wouldn’t want to insult you by offering “exposure” in exchange for your hard work, but instead, we want to offer you the opportunity to make a real difference to wildlife across the globe by simply doing what it is that you do best.

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You’ve been chosen because of your skills and passion as a designer, and right now that is exactly what is needed by all the endangered species which we will go on to support. As a not-for-profit charitable organisation we can offer you the opportunity to help save threatened species all across the planet. You can expect your work to help us reach and inspire hundreds, if not thousands, of people to contribute in their own way to keep our planet weird and wonderful.

Although we would love for you to submit a brand design there is no pressure and absolutely no expectations from us. We understand that you might be very busy right now and that your time might already be spoken for, so please be assured that you can turn this project down absolutely guilt-free. However, if you do have a little spare time on your hands and you fancy getting creative, why not give it a go and send us a rough draft. The chosen designer will be given £100 in order to finalise their design.

P​ROJECT​ S​PECIFICS
The following articles would be needed for the final design of the brand basics:

  1. Standard Logo design – colour
  2. Standard Logo design – black and white version
  3. Logo variation 1 – square
  4. Logo variation 2 – condensed
  5. Logo icon/badge (e.g. for social media portrait)
  6. 2x Fonts – header and body (must be public domain)
  7. Colour palette with CMYK reference (maximum of three colours only plus black and white)

DESIGN​ ​CONSIDERATIONS

  • ●  The whole brand design must use a ​maximum​ of three colours, plus black and white
  • ●  We hope to work with multiple classes of animals (mammals, reptiles, birds, amphibians,

    insects and fish) across multiple habitats (rainforest, tundra, ocean, steppe, desert etc.)

  • ●  Our approach is alternative and unique in the world of wildlife conservation
  • ●  Despite our approach, we want to be credible among wildlife conservation professionals,

    scientists and the general public

  • ●  Logos must be transferable to different platforms of digital and print media
  • ●  Our target audience is widespread across demographics: donors will often fall into the

    bracket of being older, middle-class, British residents; whereas the organisations that we work with are likely to be international (on a global scale) with non-english speaking, working-class, local communities as their frontline staff and professionals/academics forming their board of directors.

  • ●  We would consider organisations like WWF, RSPB, Wildlife Trusts, Wildlife Conservation Network etc. to be very much our superiors (and with very strong branding) who we aim to be alongside one day
  • ●  We would consider our current peers (UK organisations with similar size and goals) to be:
    • ○  Wildlife and welfare
    • ○  Wildlife research and management trust fund
    • ○  The Penycommin trust for wildlife conservation
    • ○  Habitat and wildlife conservation society
    • ○  Dambari Wildlife trust
    • ○  Wildlife conservation International Ltd
    • ○  The wildlife ark trust

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S​UBMISSION​ ​DETAILS

If you would like to submit a design proposal for our new branding, please present your bid on the attached design template, ensuring your email address is noted. Email all applications to jack@wawa.org.uk​ ​BEFORE 31/05/2020​.

Please note that we are a non-profit organisation and the maximum value of this project is limited to £100. ​No payment is offered to general applicants at this stage as only the chosen designer will be awarded the payment.

SELECTION​ ​PROCESS

Submitted designs will be assessed and commented on by all the board members of WAWA Conservation. A voting process will then take place and the designer of the chosen branding will be contacted. Once the branding has been chosen, all applicants will be notified and if you would like to see the feedback on your designs please let us know at that point.

SUBMISSION​ ​RULES

If your design is chosen to be used, you will be paid the £100 upon submission of a finalised design. Upon payment, you will be required to give full consent for your submitted works to be used in any way required by WAWA Conservation. You will also be asked to give WAWA Conservation the rights to, and ownership of, the design; and to send over the editable files for each article for us to use freely.

CONTACT​ ​INFORMATION
Please send design submissions and any questions to Jack Haines, ​Jack@wawa.org.uk