Barrie works alongside Philippa Wood as part of The Caseroom Press, an award winning independent collective who make and publish Artists’ Books. His own work explores the nature of collaboration in Graphic Design as well as his interests in concrete poetry, phase music, ‘dead technologies’ and book arts.
He studied at St. Martins School of Art and Chelsea College of Art and has since worked in London, Edinburgh, Glasgow and Lincoln. Alongside his role here as a Senior Lecturer, he continues to work as a freelance graphic designer and typographic consultant. He recently wrote the book ‘Typewriter Art; A modern Anthology’ (Laurence King, 2014).
Barrie’s work is held in various permanent collections, including The Science Museum, The Tate Library and the National Museums and Galleries of Scotland. He has given talks about both that of The Caseroom Press and his own practice across the country.
http://the-case.co.uk/
http://barrieagogo.co.uk/
Philippa Wood (Programme Leader)
Philippa produces work as part of a small collective called The Caseroom Press. Her work explores a range of interests, with an emphasis on domesticity, and what could be considered the minutiae of life – the seemingly insignificant aspects of our living and working environments and the importance we place on them; to projects that explore how applying mandatory rules and systems impact on the content and form of the book and whether this means the artist relinquishes creative control.
Having originally qualified as a graphic designer her current creative practice embraces her interest in typography and the utilisation of traditional print processes such as letterpress.
Philippa’s artists’ books are held within various permanent collections including The Klingspor-Museum Offenbach archive, Germany; Boise State University, Idaho, USA; Winchester School of Art and Design and Bristol Bower Ashton Library, UWE, UK.
http://www.the-case.co.uk
https://www.flickr.com/photos/philippawood/
Ian Waites
Ian studied History of Art and Design at Leicester Polytechnic, and has taught at the School of Art and Design in Lincoln since 1995. For several years he was programme leader of an honours degree course in History of Art and Design and is now module leader for the BA (Hons) Graphic Design Contextualising Visual Practice modules, which aim to inform students on the history and cultural contexts of twentieth and twenty-first century Graphic Design.
His research interests centre on landscape, sense of place and memory.
Ian is the author of a book on the artistic representation of common land, which was published in 2012. During the eighteenth and nineteenth centuries, common land was persistently viewed by the upper classes as being outmoded and unsightly. Despite this, many British landscape painters of the time -- including Constable, Gainsborough and Turner -- resolutely continued to depict this type of landscape. This book is the first full study of how and why they did this.
The theme of discredited environments similarly emerges in his current research on the history and meaning of a 1960s English council estate where he grew up. Above is a photograph of his house that was taken sometime in 1975. Ian's research on this council estate is deliberately multi-faceted, in that it examines the original design and planning of the estate in relation to the more phenomenological concerns of spatiality, sense of place and everyday life. The research is particularly defined by his childhood and teenage memories of the estate during the 1960s and 70s, in an attempt to regain a sense of what it ‘felt like’ to live there. Ian keeps a blog, Instances of a changed society that chronicles his research and thinking on the post-WW2 council estate, which you can read here: http://instancesofachangedsociety.blogspot.co.uk/
As well as this personal attempt to travel in time and space, his other interests include trying to understand life in the equatorial time vortex of Christopher Priest’s novel The Dream Archipelago (2009), listening to my favourite album, Brian Eno’s Another Green World (1975) and dancing to Northern Soul. And he prides himself on knowing what S.P.E.C.T.R.E. – James Bond 007’s adversary – actually stands for.
Carol Breen
Carol worked as a 2D motion designer in post-production for television and advertising, going on to complete an MA in Communication Design at Central Saint Martins, London in 2012.
Her research project explored how dance film – a hybrid form of screen media – is not communicating to the general public; by critiquing existing literature and using her own practice-led research, she investigated the ambiguity of dance film's identity, the conflicting definitions in circulation, and how design can be employed to make 'specialist' hybrid art forms (more) accessible to a wide audience.
www.carolpbreen.com
http://carolpbreen.tumblr.com/
Brian Voce
Brian Voce is a practicing artist and educator. He has worked in a range of media (both two and three dimensionally). Viewed retrospectively his work has consistently explored the themes of transience, time and the human interaction with the environment. As a teacher he has extensive pedagogical experience, having been involved in the delivery of a wide range of Art and Design Programmes. He has worked in the fields of Community Arts, Adult Education, Offender Learning, Special Needs, Advanced, National Diploma, Foundation and Undergraduate study.
His current practice uses traditional media (print, paint) in combination with digital techniques to explore and reflect upon issues of genetic modification. Through the use of repetition overlay and recombination of simple forms he creates complex and unpredictable outcomes, chance alignments and compositions, to create new ‘chimeras’ with hitherto unforeseen outcomes.
Dave Pettitt
Jeremy Goffin
Jeremy has evolved his graphic design practice alongside technological advancement, new platforms of delivery and user centered design communication. This creative path has now led him towards the digital native elements of graphic design. However both personal and research projects utilise the mix media cut and paste work ethic.
Recent projects include the co-coordinator of the LightWorks festival of Contemporary Electronic Graphic Design, in which has progressed over the past 3 years into multi centre collaborations. The LightWorks festival has won research awards from the University of Hull and the Grimsby Institute University Centre for the promotion and encouragement of contemporary visual art and culture within a wider audience.
Out of the educational world, Jeremy works within the extreme sports industry mainly in the board riding and music genres. Campaigns, exhibitions, publications, short films and broadcast motion graphics include O’Neill, Carhartt, Surfers Against Sewage, Carve, Lodown, SNPR and The Doggerland Chronicles to name just a few.
Sinclair Ashman
Sinclair leads Reverse Design and has taught on the course since 2009. He is a designer with vast experience of brand communications and identity creation for international and domestic clients. He studied at the University of the Arts, London, where there was a distinct bias towards ideas creation and typography in his design training. His design agency career spanned over 20 years in a variety of roles as a designer and in design team management; as a senior designer, design director and creative director, in some of London’s finest communications agencies.
He has created award-winning literature for London Business School and Severn Trent as well as identities for clients across the financial services, business services, charity and travel sectors. Sinclair has also designed websites and online marketing for Shell, Tomorrow’s Company, Bentley and the Man Booker Prize.
Sinclair's other interests include abstract landscape photography and, in the last two years, printmaking using the collagraph technique. He has exhibited photography in galleries in London, Suffolk and East Sussex and has a exhibition of printmaking planned for 2016.
www.reverse-design.com
John Dowling
Matt Smith
