Communication Design School of Design

Julia Villard (She/Her)

Book design

As a visual communicator, my practice is concept and research-driven. I seek to shed light on the gap generated by the loss and renewal of meaning that arise during the process of translation. I enjoy visualising how architecture can be read, how algae can be worn or how the digital can be tactile. I developed this interest thoroughly through my curatorial rationale by questioning our understanding of ‘virtual’, which I further developed in my degree show work.

 

Contact
villardjulia@outlook.com
@jvlld
Works
The Memory Theatre
Mon mémoire digital
Hum and Haw
Girl, Woman, Other, Bernardine Evaristo
Power Plant
Banned: A Poster Exhibition
Book design

The Memory Theatre

The Memory Theatre by Giulio Camillo is an ideal architectural structure destined to ‘locate and administer all human concepts, everything which exists in the whole world’. To conduct this, Camillo displays on the rows of this theatre images and symbols representing all human knowledge, thus spatializing memory.
This design concept reflects the complex composition of this theatre. The viewer is invited to alter their way of reading by standing between both books displayed before him.

 

Mon mémoire digital

Data Visualisation of my curatorial rationale, Screenprint.

Collaborative project with Antoine Boutron.

“What we are dealing with here is a proto-computer (…) He wanted to create a machine that would allow for all possible permutations of knowledge in the algebraic form” — Simon Critchley: Memory theatre (2017)

As a computer-based generation, we conserve all our memory externally; we do not need to know much information- we use google- and do not need to remember much of it either- it is stored in our computers. Covid and online learning have accentuated this: what I have left of my last years at the Glasgow School of Art is mainly data, and it is all stored in what we could call my ‘external memory device’.

Through this research project, I played with the clashing time frames of the Renaissance Memory of Frances Yates and my digital memory. These Screenprints are coded data visualisations of my final year curatorial rationale; they are a tactile outcome created by an invisible algorithm.

Girl, Woman, Other, Bernardine Evaristo

Shortlisted design for The Penguin Cover Design Award of 2022.

In my reading of Girl, Woman, Other, I was intrigued by the diversity of characters, the voices depicted and how strongly their identity is portrayed through their language. I created my cover using letterpress printing, drawing inspiration from various archives looking at protest and theatre posters. Each letter has its own unique features and subsequently, their own flaws, echoing how our identity is mirrored in our individual language and speech.

Power Plant

Power plant is an identity proposal for a hypothetical exhibition that puts forward different artists, architects and designers who work with the biomaterial of algae. As we are now in a state of climate urgency, we need to rethink our ways of consuming: the food we eat, the clothes we wear and the materials we use. This identity plays with the idea of change through the typographical treatment of the captions while suggesting a transition from one state to another by means of the split posters.

Gallery Space

Caption design

Caption design

Exhibition Posters

Exhibition Ticket

Poster design

Poster Design

Banned: A Poster Exhibition

In March, we curated Banned: A Poster Exhibition, an exhibition of letterpress posters all made in our university’s caseroom. We worked on the curation of the event and were responsible for assembling, managing and presenting the posters that everyone had made. Using the identity guidelines of the exhibition, we interpreted them through spatial design and designed 3D letterpress rolls, a large vinyl for the window and a manifesto stating the rules we had defined.