Category: Unit 2

With Oswin Tickler – Designer & Educator

The workshop involved –

• Understanding how creative code works in relation to print
• Creating visual assets to be used in an existing piece of code to generate collaborative designs using HP Spark Software.
• An activity to understand coding logic by generating visual results based on the received codes
• Using the coding language p5.js. to generate basic variable designs

Collaborative Design Process

• Design shapes on 100×100 artboards on Illustrator
• Ensure all of the shapes are of the same colour and make it spot color with a specific name (as whatever you have mentioned in the code)
• Convert all artwork into outlines and export as PDF
• Plug in a dynamic image channel into Indesign using HP Spark
• Connect the code to the channel using Dynamic personalization settings (connect it to the compiled pdf file)
• Replace the number of pages in the code based on the total pages of the PDF

I believe creative coding is an efficient means of generating randomised versions of a set of designed assets, featuring varying colours and locations, and therefore, it can be employed to create multiple compositions rapidly. A great example is Oswin’s earlier explorations for the work titled “Glitch”.

For this work, the assets were created in Illustrator and exported as white PNG files. The colors were then modified using the code itself. Once the code is functioning properly, you can generate numerous colors and various combinations using the same set of designed assets.

This approach also enhances personalisation; Oswin’s work for the BAFTA Awards involved using coding to generate 2,500 unique covers created from fixed assets and produced at random.

Finally, the workshop ended with writing a basic code and playing with it to generate shapes with varying colours and positions using p5.js. While this is a free online coding platform (limited storage), Processing is a better option as it’s a software where more assets can be used. This is what I ended up creating. It was lovely to revive memories of coding from the 10th grade(JavaScript). I had never thought that it could be used in the creative field, and this workshop has opened my eyes to re-evaluating how any of the skills that I have gained till now can be used in my projects.

Links:
SuperMundane
Fedrigoni
Eye magazine
Fedrigoni 365 (366)

Credits: Oswin Tickler (2025) Creative Coding[Workshop]. UAL London College of Communication. 19 February.

Letterpress Work Presentation

I’ve always been told that a design is successful when its message is immediately clear to its audience. But Dafi Kuhne introduced me to a different perspective: positive distractions. In an era of shrinking attention spans, a poster that makes someone pause, look away from their phone, and genuinely wonder what it’s about isn’t failing—it’s fulfilling its purpose. It disrupts routine, sparks curiosity, and in that brief moment, it has already made an impact.

Kuhne also speaks about toxic typography, describing it as “the world being intoxicated with boring typography and other bad things” (2025). His work challenges this idea, pushing the boundaries of traditional type design.

As a designer who also illustrates, I’ve always aspired to develop a signature style—something distinct and recognizable, much like many artists have. However, Kuhne takes a different approach. Rather than adhering to a fixed style, he adapts his design language to suit each client and project. Every piece he creates is tailored specifically to its purpose. Instead of imposing a singular aesthetic, he ensures that his work serves the needs of the project. In return, his clients must trust his expertise, knowing he will deliver exactly what they need—even if it’s unlike anything in his previous portfolio.

The sheer amount of effort that goes into a single poster is remarkable. His process, which applies just as well to brand design, involves immersing himself in the client’s brief for two to three days—experimenting freely, evaluating what works and what doesn’t, and refining the strongest concepts. This iterative process continues until the final design feels just right.

His workflow seamlessly merges digital and physical techniques. He begins by experimenting with letterforms, crafting the initial design digitally while also producing physical samples. Once the client approves the concept, he brings it to life through letterpress printing.

What stood out to me most was his approach to creative decision-making. Instead of restricting himself based on feasibility, he first proposes what he believes is the best possible direction for the project. Only after receiving client approval does he figure out how to execute it—going to great lengths to achieve the envisioned result.

I also learnt of the importance of maintaining a visual inspiration bank—something to draw from for future projects. I also developed a deeper appreciation for how limitations can fuel creativity. Despite working with a letterpress machine that wasn’t large enough, he found a way to produce oversized posters without generating extra waste.

He also stressed the method of seeking inspiration—not to copy, but to learn and improve upon it. His philosophy is built on two key principles:
a) Always credit your sources.
b) You take and you improve.

Above all, Kuhne’s approach reinforces a powerful message: respect your work and your working style.