BA Thesis
London College of Communication, UAL

Jan 2017
10 000 words

The discipline emancipated from traditional analogue processes of working and craftsmanship. The results and success of a design no longer depend on the use of technology but perhaps in mastering the visual codes that give structure to an intended message. These visual codes are the result of technical advancements and the social consequences of these advancements. Today we find ourselves coming back to craftsmanship in the context of a digital era where is experienced a dematerialisation in many aspects of our lives, where new technology gives us the possibility to rethink the question: will we continue to think with our hands or not?

Everything that happens is bound by the choice of the material. Who did I choose and what can they do? Working with myself is no excepton; in fact, working with myself I can fool myself even more easily into thinking I can do anything, I can’t do everything. So my question is this: what can I do?



These papers register an investagation around working methodologies.
Reflecting on contemporary design methodologies questioning  the academic course structure that seemed innapropriate to me in a current post modern scenario.


Combine analogue and digital materials to generate new imagery around  human body portraiture, making use of an existential and graphic pluralism that is encountered in the post-everything Man. Ultimate image-making in where the mediums are the messages, images re-appropriated to new meanings and materials speak for themselves.Intuitive and experimental process of  documenting deconstructed silhouttes that reveal an existential dimension of the subject and supports the ideas defended in it.


—Post-digital Artisans;

—Creative Methodologies,
—Process vs Method;
—Design, Design or Design?
—Art & Design Practices;
—Matter Over Substance;
—Materialism & Spiriuality;

—Error & Intuitiion;
—Producer as an Author:
—Multidiscipline and Heteronomy:
— Individual Pluralism:
—Change and Freedom.

Blauvelt, A., Eatock, D., and Eggers, D. (2000) ‘Towards a complex simplicity’, Eye, 9(35). Available at + (Accessed: 15 November 2016).

Burrows, J. (2010) A choreographer’s handbook. Oxon: Routledge

Channel 4. (1999). This Is Modern Art [Online Video]. 10 April 2011. Available at + [Accessed: 24 June 2016].

Clarke, J. (2015) ‘The Role of the (Graphic) Designer, Notes on Metamodernism, 16 April. Available at + (Accessed: 9 November 2016)

Chin, A. (2011) ‘ Martí Guixé interview’. Interview with Martí Guixé. Interview by Andrea Chin for Designboom, 11 January. Available at + (Accessed: 9 November 2016)

Debord, G. (1994) The society of the spectacle. 1st ed. New York: Zone Books.

Every Frame a Painting. (2016). How Does an Editor Think and Feel?. [Online Video]. 12 May 2016. Available at + [Accessed: 20 June 2016].

Explore materials an objects (2016) [Exhibition]. Tate Modern, London. Dates of exhibition. 9 November 2016

French, G. (no date) Fashion Photography gets hy- per-real. Available at + (Accessed: 23 January 2017).

Hassan, I. (1986) ‘Pluralism in post-modern perspective’, Critical Inquiry, 12(3), p. 503.

Hester, L. (2016) ‘The Big Idea - The Context’, Viewpoint, 37(Rebellion), pp.26-27.

Hilliard, J. (2015) John Hilliard: Accident and Design. Berlin: Holzwarth Publications.

Holmes, R. (2006) David Hockney: Life Love Art. Available at: + (Accessed: 26 January 2017).

Jåger, E. (2016) ‘The Big Idea - The Translation’, Viewpoint, 37(Rebellion), p. 101.

Klanten, R. (2009) Regular Graphic Design Today. Gestalten: Berlin

Koren, L. (1994) Wabi-sabi for Artists, Designers, Poets & Philosophers. Point Reyes: Imperfect Publishing

Materials and Objects (2016) Display board at Tate Modern, London, 25 August 2016.

McLuhan, M. and Fiore, Q. (1967) The Medium is the Massage: An Inventory of Effects. London: Penguin Books

Munari, B. (1971) Design as Art. Translated by Creagh, P. London: Penguin Books

Nicolás Paris: Four variations on nothing or talking about that which has no name (2015) [Exhibition]. Berardo Collection Museum, Lisbon. 18 November 2015 - 3 April 2016.

Platt, J. (2016) ‘What’s with bootlegging in fashion?’, Hungertv, 15 July. Available at: + (Acessed: 14 December 2016).

PUBLIC_ (2015) Carhartt WIP Fall/Winter 2015 Global Campaign: Tim Head Interview. Available at: + (Accessed: 27 January 2017).

Press Association (2014) Hockney in dig at Hirst art process. Available at: + (Accessed: 26 January 2017).

Rappo, F. (2009) Regular Graphic Design Today. Gestalten: Berlin

Rea, P. (1994) ‘Reputations: Dan Friedman’, Eye, 4(14), Available
at + (Accessed: 23 January 2017)

Ryan, K. (2016) ‘Modern Craft’, Apartment, Issue #17 (Spring/Summer), pp.169-177.

The Guardian (2011) Cindy Sherman: Me, myself and I. Available at + (Accessed: 26 January 2017).

Thera, N. (2006) The three Basic Facts of Existence. Available at + (Accessed: 10 November 2016)

Thwaites, T. (2017) Designing for the unreal world [Lecture], University of the Arts London. 17 January.

Walker, S. (2013) ‘Design and Spirituality: Material Culture for a
Wisdom Economy’, Design Issues, 29(3), pp. 100-107.

Walker, S (2014) Designing sustainability: making radical changes in a material world. Oxford: Routledge

Cargo Collective, Inc.
Lisbon, PT.