You’re invited to

The Intermission: Grad Show


Tuesday, April 19, 2016

Industry Reception


Doors Open



The Liberty Grand

25 British Columbia Rd, Toronto

The Intermission is the 2016 York/Sheridan Program in Design’s annual showcase of the best work produced by its graduating class. It is a night for the industry to connect with emerging designers and explore their works, and for students to celebrate their past four years of hard work with you!

Getting to the Show

Getting to the Show

29 Dufferin → Saskatchewan Rd
504 King → Dufferin St
509 Harbourfront → Manitoba Dr
Lakeshore West → Exhibition
Get directions on Google Maps

Frequently Asked Questions

Is the show free?

Yes, absolutely. However, we do help fund the event through sponsorships. If you’re interested in supporting this or future years, get in touch.

What can I expect to see and do at the show?

The show is an opportunity to browse the work and meet in-person with grads from one of Canada’s top design programs.

Will there be drinks?

Yes, we’ll have a cash bar available throughout the night.

What is the 'Industry Reception' portion of the show?

We dedicate a part of the night exclusively to people working in the design and creative industries. All students will be there to answer any questions about their work and experience. No ticket or registration is required.

I'll be at FITC on April 19th. Can I still come?

Definitely! The FITC schedule ends at 6pm on April 19th. We’re open until 11pm, so there’s lots of time if you’d like to swing by in the evening.

Where can I park my car?

There is a parking area located beside the Liberty Grand that will be available.

Come Meet the Cast!

Let us know if you're coming on Facebook and add the event to your calendar. We hope to see you there!

Grad Show Liberty Grand, TorontoApril 19
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Objective Reality

In my final year thesis project, I tackled the challenge of expressing the work of sociologist Jean Baudrillard through a stand-alone design piece.

Though I’ve always been passionate about sociology and philosophy, I was unfamiliar with Baudrillard heading into this year. I stumbled upon his writing in an internet exploration of culture and media, and was immediately struck by the depth and radical nature of his thinking. The difficulty in this project soon become obvious, as I had to figure out a way to express these extremely complex and abstract concepts through design.

The difficulty in this project soon become obvious, as I had to figure out a way to express these extremely complex and abstract concepts through design.

Baudrillard wrote extensively on his theory of “hyperreality”, which he used to describe the current state of contemporary western culture. Baudrillard believed that this hyperreal world in which we currently reside has become so distorted by media and advertising that “real meaning” has been lost.

As Baudrillard’s writing effectively critiques reality, I brainstormed a number of design objects which hope to objectively depict reality. Avenues I considered included maps, dictionaries, material biographies, and finally, news media. As someone with a passion for print and type-setting, I eventually chose to design a newspaper.

In his writing, Baudrillard lists a number of ways in which “real meaning” might be rediscovered in media. He advocates processes which dissolve boundaries of time, place, and economic standing. As newspapers, especially those that deal with finance, typically cater to the middle/upper-class, I considered how a newspaper designed for the less-privileged might look.

One way I expressed this thinking in the Business section was by replacing the stock reports, which typically appear along the top of the page, with casino slot machine results. As poorer people without money to invest are unlikely to be interested in stock reports (and perhaps wouldn’t even know what to make of them— I know I don’t) I used the slot machine symbols to allude to the idea that were they to invest, they’d largely be playing with house money, with the odds stacked against them.

Ironically, in the quest to rediscover meaning, Baudrillard encouraged practices and symbols which disrupt meaning, and at times might appear entirely meaningless. For reference, one might consider the principles of ‘pataphysics. Accordingly, some of the images and juxtapositions in the newspaper might refer to nothing at all, or are used for the purposes of intentionally confusing readers into making unlikely connections.