The forthcoming book Masterclass: Graphic Design is the next title in our series that showcases master’s degree courses from some of the world’s leading graduate schools. The book features graphic design and visual communications courses. Here we share some graduate graphic design projects that caught our eye, and in an upcoming article we will share work related to visual communications. 

These selected designs - which includes the work of recent graduates and successful alumni - include typographic projects, colourful posters, vibrant artworks and monochromatic publications. The students whose work is featured here include:

Brandon Waybright (Otis College of Art and Design, Los Angeles, United States)
The basic prompt of this work, which included a publication, website and installation, was about how can design be used to see the world through the eyes of another person.

Fred Deakin (Central Saint Martins, London, United Kingdom)
Deakin’s graduate project was a magazine imagined as cereal packets, as well as album sleeve artwork (pictured), such as the cover of the Lemon Jelly Lost Horizons release.

Elizabeth Seibert (Pratt Institute, New York, United States)
New media requires new metaphors, especially those that offer transparency. Taking cues from postmodern notions of the sublime and the uncanny, this work explores how to render those invisible processes and systems visible.

Hugo Blanzat (ENSAD, Paris, France)
This project was in collaboration with Fabienne Ruppen and is an open typographic system, a versatile toolbox. It is comprised of two parts: an initial research phase to identify the 'genome'; followed by sub-projects that implement the first phase.

Deb Lau (York University, Toronto, Canada)
Through visual and textual research, this project investigates the relationship between graphic design and cultural identity. The goal is to use the Chinese peony flower in the process of developing a visual language.

Haynes Riley (Cranbrook Academy of Art, Bloomfield Hills, United States)
This poster was created for an event exploring the functionality and form in contemporary seating. In collaboration with Nicole Killian and Leo Hanifin, the archetype of Chair was deconstructed and illustrated the complex relationship that a body has to an object.

Robert Gonzalez (Pratt Institute, New York, United States)
This project was an exploration into connections and culture networks which define every level of our experience. They are the basis of our physiological, cognitive and social processes. As such, connections are an important aspect of the way that designers contribute to the visual culture around them.

Johannes Ammler and Ingmar Spiller (Berlin University of the Arts, Germany)
This was a joint project at the interface between performative and visual communication, with a focus on a strong multidisciplinary cooperation and interdisciplinarity.

Miguel Almeida (ESAD, Porto, Portugal)
Work that elaborates on memories and personal history as well as physical space and trade. The reader makes both visual and narrative connections as they sort through the loose-leaf dossier, and are drawn into a personal labyrinth of memorabilia, rich with visual and literary references.

Bianca DiPietro (York University, Toronto, Canada)
This poster investigates the arbitrary relationship between spoken sounds and graphemes, and extends that relationship to letterform design. The typeface designed (informed by linguistic theory) demonstrates that similar to letterforms having multiple speech sound associations, a typeface can have multiple connotative associations.


Three new titles in the Masterclass series will be published this autumn. Work from the Masterclass: Architecture was featured here, and graduate projects from Masterclass: Fashion & Textiles can be found here. The first book in the series, Masterclass: Product Design, is available here.