Corita Kent, or Sister Corita Kent, was an American nun, artist and educator known for her innovative silkscreen designs. Her vibrant artwork, with messages of peace and love, won her international acclaim in the 1960s.

Her set of rules, originally written for a class she taught at the Art Department of Immaculate Heart College, Los Angeles, in 1967-68 and popularised by John Cage,  is still relevant today.

Read it here on Reading Design:



MA Graphic Media Design [MAGMD] invite you to join us at LCC for A Line Which Forms a Volume* on December 6, 2017. The symposium will launch the first edition of a critical reader of graphic design-led research that is edited, written, designed and published by course participants.

We are excited to welcome guest speakers Stuart Bertolotti-Bailey, Eleanor Vonne Brown, and Jack Self, whose work has informed participants’ lines of inquiry. MAGMD graduates Cate Rickards and Aldo Caprini will present a vignette of their contributions to the reader. A series of interludes from MAGMD tutor Sophie Demay will punctuate the evening.

Stuart Bertolotti-Bailey co-founded Dot Dot Dot with Peter Bilak, worked together with David Reinfurt as Dexter Sinister, and is currently Head of Design at the ICA whilst collaboratively producing Bulletins of the Serving Library.

Jack Self is the director of the REAL Foundation and editor-in-chief of the Real Review. Previously, he edited Fulcrum, authored Real Estates: Life Without Debt and curated Home Economics at the Venice Architecture Biennale.

Eleanor Vonne Brown founded X Marks the Bokship, which introduced the collaborative projects: X-Operative at Wysing Arts Centre, Translation and Verbal Mutation with FormContentand the Whitechapel Gallery as well as The Publication as Practice seminar series.

Sophie Demay is an independent design and curatorial practitioner. She writes regularly for Étapes and is an Associate Lecturer for MAGMD. Previously, she co-edited Openbooks Volume A—E, and co-organised Access Through Tools.

In his MA research The Green Book, The Red Book and The Blue Book, Aldo Caprini uses The Green Book – political primer of the former Libyan leader Muammar Gaddafi – to analyse and visualise how objects become rhetorical instruments to manifest ideology.

In her MA research The Shadow for the ThingCate Rickardsstudies a dummy hand grenade from the Stanley Kubrick Archive to consider how the perception of an object might be problematised through graphic design.

A Line Which Forms a Volume takes its name from a subheading in the 1996 essay ‘The Book as Object’, written by Michel Butor. In this text, Butor writes that threads of thought and speech must be set into lines, lines divided into columns, and columns stacked along a third axis of depth to form a volume. The notion of ‘volume’ as a publication, as well as the space that something occupies and as a quality of something audible, lends itself to the endeavour of A Line Which Forms a Volume to make graphic design research public.

A Line Which Forms a Volume is just one strand in a larger graphic design research narrative that has been drawn from the MAGMD course. A Line Which Forms a Volume is curious, evolving and current, and aims to thread the research of participants into the wider contexts of design criticism and publishing.

*Title borrowed from Michel Butor (1996), ‘The Book as Object’, Inventory: Essays by Michel Butor, New York: George Braziller.

The symposium is part of LCC Postgraduate Shows 2017: Show 2, exhibiting 6-9 December. For more information see the LCC events page.