Cover image by Jacob Blandy

Cover image by Chris Svensson

Detail of gatefold showing index of different covers

Spread by Jean Jullien

Spread by Andrew Osman

Curation, compilation, and design of the final publication for the graduating class of Central St Martins BA (Honours) Graphic Design.

Our goal was to create the most democratic catalogue possible; one which allowed each student to be in complete control of the presentation of their work. We created a template into which the students were invited to lay out their own spreads. The students’ contact information was housed in narrow strips along the edges of the pages

Each student was also asked to design a cover for the catalogue. The submissions were offset-printed on adhesive paper and affixed to a portion of the catalogues. There were, in essence, 168 unique covers for the book. The plates were further used to create posters, and postcards containing students’ contact details, which could be given away at the degree show (and after).

In curating the content of the book, we invited the instructors to contribute as we felt that they were as much a part of the course as the students. We also edited, and excerpted selected dissertations, and included these, along with reading lists provided by students.

Designed as part of Venn Diagram.

NB: We did not have anything to do with posters, websites, etc. related to this exhibition—only exhibition design, catalogue, and gallery guide.

Catalogue for the inaugural exhibition at Nottingham Contemporary. Designed with Sara De Bondt.

2010

Casting Call
Charlie White

2007–2008

1. Original postcard

2. Chris Svensson

3. Christian Skovgaard Petersen

Postcard series
105 × 150 mm

In 1966, British artist Malcolm Morley made a large painting based on a postcard depicting a group of people lounging on the deck of a boat. He titled his work On Deck. On Deck was included in the Hayward Gallery’s exhibition, The Painting of Modern Life. I purchased a postcard of On Deck from the Hayward bookshop and and painted a monochromatic rendition of the image. I scanned this in and produced a new postcard which I then sent to a friend to repeat the process. Repeat ad infinitum. The results will eventually be collected, and displayed in an appropriate format. If you would like to participate, please get in touch.

“When I said my super-realist paintings were a “Dada” gesture, I was referring to the idea that basically painting from a reproduction was painting from a still life, because the image itself has three dimensions (including the edges). [...] I don’t think of the [photographic] source of a painting as second-hand [information.] For me it is first-hand. I am relating to the print of the image. I am not relating to where the image came from. The relationship I have to it has to be on a one-to-one basis. It is the image I am looking at.” —Malcolm Morley