Short biographies of the designers in the A+ show, K – L

Kat Garner (b 1989)

Kat studied graphic design at CSM between 2011 and 2014. After working on projects for clients such as XL Recordings and Lacoste, Kat is now a designer at the Government Communication Service, Design102, whose recent projects include communication design for the Principia Space Mission and the G6 Summit. As well as digital design she also employs screen-printing and illustration in much of her freelance and self-directed work. Her thesis, The Absence of Women in Graphic Design, is featured in the A+ exhibition and examines the history of women’s participation in the design industry.

'The Absence of Women in Graphic Design' (2014), Kat Garner, displayed in the A+ exhibition at CSM in 2016

'The Absence of Women in Graphic Design' (2014), Kat Garner, displayed in the A+ exhibition at CSM in 2016

Kate Hepburn (b.1947) studied at the Central School in the late 1960s, before graduating from the Royal College of Art in 1972. In her final year at the RCA, Kate and Sally Doust (previously Art Director of Australian Vogue) began work as the original design team for second-wave feminist women's magazine Spare Rib. The brief for the design required a new kind of visual language that would indicate it was both a women's magazine but also a publication that challenged the status quo. Kate's other documented work includes art direction and design of the first two Monty Python books, having previously worked on Python animations. In 1981 Kate won a D&AD award for her posters promoting Jean Michel Jarre's tour of China.

Kath Tudball (b. 1978) studied graphic design at CSM from 1998 to 2001. On graduation Kath began working at Johnson Banks along with her creative partner Julia Woollams, working for clients such as The Science Museum, the Cystic Fibrosis Trust, Art Quarterly magazine and Unicef.

Kath remembers CSM as being 'all about the people. I found my feet as a designer working with some seriously inspiring students and staff. After graduating I worked with classmate Julia Woollams for over 15 years, and today many of those formative creative relationships continue to thrive and develop. The place, reputation and facilities are one thing but the opportunity to learn from, collaborate with and be challenged by a talented group of individuals is what a great art school should really offer.'

Kath has lectured at Central Saint Martins, taken part in D&AD juries, panels and portfolio surgeries, and is an awarded member of D&AD, acted as External Assessor for BA Graphics at CSM, and lectured at St Brides Library. Her work regularly appears in articles in the design media for example in Creative Review, Design Week, Creative Boom and Eye Magazine. Her work has been exhibited in the Barbican 'Communicate' exhibition, The London Design Festival and The Creation Gallery in Japan.  For the A+ exhibition, Kath has selected a poster showcasing the new Science Museum identity and the set of Great British Fashion postage stamps, which she art directed with Johnson Banks Creative Director Michael Johnson.

Kathleen Hale OBE (1898 - 2000) showed artistic talent as a child, and moved to London from Manchester aged 17, in pursuit of an artistic career. She supported herself with various jobs, and after winning a poster competition judged by Augustus John, worked as his secretary. John encouraged her artistic talents and in 1928 Kathleen enrolled in the Central School to study oil painting. Kathleen later created Orlando the cat as a character to entertain her children at bedtime as an antidote to Enid Blyton stories, aiming to achieve something more akin to Jean de Brunhoff's Babar the Elephant stories, with high quality production, design and ideas. When her stories were accepted for publication, Kathleen prepared her illustrations for lithographic reproduction herself, and was considered to have set new standards in the use of colour in children's picture books.

During the 1940s to 1950s Orlando was famous. He was the subject of children's radio programmes, a Festival of Britain mural and a children's ballet; he had his own product line. Kathleen received an OBE for her illustration work in 1976, and can be heard talking about her life on BBC radio’s Desert Island discs, available on the BBC Radio Iplayer. The Victoria and Albert Museum have Kathleen's work in their collection and two of her Orlando books were recently selected for the Aram Anniversary Library collection in the Central Saint Martins Library.

Katie Harrison (b.1986) studied at CSM from 2004 to 2008, following the Illustration route in the BA Graphic Design course. After graduating Katie worked with her mother, animator Joanna Harrison, and assisted director Dougal Wilson at Blink Productions. Katie joined Wieden + Kennedy via their Platform programme and now, in her own words, 'gets to work as a creative in the world's best agencies'. Together with Charlotte Freeson, Katie set up production company SON and Katie has selected an image from their Snapchat campaign for Miss Crofton Lingerie to show in the A+ exhibition.

Lizzie Finn (b.1973)

An illustrator, art director and educator, Lizzie graduated from Central Saint Martins in 1996, and shortly after became Art Director of Silas, the clothing label. In the early noughties Lizzie designed record covers for Moloko and Oasis, and her work has appeared in Vogue, Esquire, the New York times and The Independent. In 2003, the Laurence King book on illustration, ‘Hand to Eye’ featured Lizzie’s work and quoted her description of her work: 'hand made in a digital sort of way and crafty in a graphic sort of way’. Lizzie is well known for her illustrations inspired by craft and sewing techniques, and was her work was exhibited in the V&A exhibition 'Spectacular Craft' (2007 – 08). Lizzie is the course leader for MA Illustration and Visual Media at London College of Communication, and currently practitioner in residence on the BA Graphic Design Communication course at Chelsea College of Arts.

For the A+ exhibition, Lizzie loaned a copy of 'Grid Sewing / Raster Nähen', a zine published by Nieves Books. It’s a 16 page one colour black A5 pamphlet containing machine-sewn fabric and paper collage, photographed onto medium format transparency.

'Grid sewing/raster Nahen' by Lizzie Finn (2004) on display in the A+ exhibition at Central Saint Martins

'Grid sewing/raster Nahen' by Lizzie Finn (2004) on display in the A+ exhibition at Central Saint Martins

Lizzie Oxby

Lizzie Oxby makes inventive films that blend live action with animation, and has taught on the BA Graphics Course at Central Saint Martins since 2007. A graduate of the Royal College of Art, Lizzie has gathered many awards and nominations for her work including a British Animation award, a nomination for the British Independent Film Awards, and Gold and Silver Mikeldi Awards at Zinebi (FIAPF). Her films have been screened at prominent international film festivals such as the the BFI London, Clermont-Ferrand, Rotterdam, Bilbao and Krakow Film Festivals. Lizzie’s work has been exhibited at The National Gallery, the ICA and the RA in London, and the Arnolfini in Bristol. Clients include EMI, MTV International, The Jerwood Foundation, Channel 4 Television, The Barbican, Telefonica, the National Trust and theatre company Theatre-Rites. Lizzie has been a jury member of the British Animation Awards and votes for the British Independent Film Awards. 

At the time of the A+ show, Lizzie’s first feature film is in development with the support of NFM in partnership with WFTV and Creative Skillset funded by the BFI.

Lucienne Roberts (b. 1962)

After studying at CSM from 1983 to 1986, Lucienne worked for a short time at The Women's Press before setting up design studio Sans + Baum. Politically and socially engaged, Lucienne's clients were from the non-profit sectors. In 2006 she set up Lucienne Roberts+, working for clients such as the Wellcome Collection, the David Milliband Campaign, the British Council, The Women's Library, the Design Museum and the Triangle Arts trust. Together with Rebecca Wright, Lucienne founded the publishing house GraphicDesign& whose books are included in the A+ exhibition. Lucienne has written widely on graphic design, from both a practical and reflective point of view, for example, The Designer and the Grid, with Julia Thrift; and Drip Dry Shirts, the Evolution of the Graphic Designer, which features interviews with internationally acclaimed graphic designers, including Margaret Calvert. A member of the AGI, Lucienne's work was included in the 2004 Barbican graphic design exhibition 'Communicate'. Her work is included in the V&A collection, and she was a keynote speaker for the 2016 D&AD Festival in London.

For the A+ exhibition, Lucienne selected the title signage she designed as part of the graphics for the 2014 Design Museum exhibition 'Women Fashion Power'. The sign was a moving installation, specific to the exhibition and unfortunately not available to be recreated again. The acrylic test lettering from the sign remain, however, and along with a video of the installation, tell the story of the design.

Lucienne Roberts, test prints for 'Women, Fashion, Power' exhibition signage at the Design Museum (2014) on display at the A+ exhibition at Central Saint Martins in 2016

Lucienne Roberts, test prints for 'Women, Fashion, Power' exhibition signage at the Design Museum (2014) on display at the A+ exhibition at Central Saint Martins in 2016

Moving title signage for 'Women, Fashion, Power' at the Design Museum (2014). Photo credit Richard Hubert Smith

Moving title signage for 'Women, Fashion, Power' at the Design Museum (2014). Photo credit Richard Hubert Smith

Lydia Blagden (b.1995) is a second year graphic design student at CSM, currently on the exchange programme at the School of Visual Arts, New York. Considering a future specialism in book design, Lydia recently completed an internship at the printers Barnard and Westwood. Lydia's work in the A+ exhibition, 'Chaos and the Fibonacci Sequence', is typical of her approach of mixing theory, experimentation and traditional techniques to produce distinctive graphic communication.