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| Ernö Goldfinger Design for Trellick Tower, Edenham Street, London 1976 hand-colored print (diploma work) Royal Academy of Arts, London |
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| Philip Powell Design for Queen Elizabeth II Conference Centre, London 1977 drawings and photograph (diploma work) Royal Academy of Arts, London |
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| Terry Frost Red, Black and White 1977 acrylic and collage on canvas (diploma work) Royal Academy of Arts, London |
"Red, black and white have been described as Frost's 'primary colours' and he has returned to them throughout his career, whether responding to a snowfall in Leeds in 1955 or, later, to the poetry of Federico García Lorca. The combination of colours was earlier employed by Russian abstract artists of the early twentieth century such as El Lissitzky and Kasimir Malevich, whom Frost has described as his great influences."
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| Eileen Agar Collective Unconscious 1977-78 acrylic on canvas (diploma work) Royal Academy of Arts, London |
"Born in Buenos Aires in 1899, Agar came to London aged six. She studied at the Slade School of Fine Art (1921-1924) before traveling to Paris and Spain. She was the only British artist to have work included in the International Surrealist Exhibition at the New Burlington Galleries in 1936. Although she is often categorized as a Surrealist, Agar was equally interested in abstraction and did not strictly adhere to the tenets of any particular art movement."
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| Betty Swanwick Primavera and the Sleeping Gardener 1978 drawing (diploma work) Royal Academy of Arts, London |
"The floating body of Flora, loosely derived from Botticelli's Primavera, is typical of Swanwick's graphic mythology. Her figures have been described as 'like great oaks in a gale that nonetheless move with the fluidity of swimmers.' The pencil was Swanwick's principal tool, as demonstrated by the monochrome illustrations she created for her novels Hoodwinked (1957) and Beauty and the Burglar (1958). "There is nothing extra in those pictures that is of no consequence," said Swanwick. "I have to be most economical and spare myself nothing. I have to put everything exactly right."
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| Sandra Blow Green and Red Variations 1978 oil and collage on canvas (diploma work) Royal Academy of Arts, London |
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| Victor Pasmore The Man Between 1978-80 oil and gouache on unstretched canvas (diploma work) Royal Academy of Arts, London |
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| Lawrence Gowing Still-Life: Vanitas ca. 1979 oil on canvas (diploma work) Royal Academy of Arts, London |
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| Leonard Manasseh Design for Radipole Lake Pumping Station, Weymouth, Dorset 1979 hand-colored print (diploma work) Royal Academy of Arts, London |
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| Richard Rogers Design for Inmos Microprocessor Factory, Newport, Wales 1980 digital print (diploma work) Royal Academy of Arts, London |
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| Robin Philipson Men Observed IV 1981 oil on canvas (diploma work) Royal Academy of Arts, London |
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| Harriet Lassalle Disco Dancing No. 3 ca. 1982 oil on cotton duck (diploma work) Royal Academy of Arts, London |
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| Michael Manser Design Model for Office Extension at Volks Ltd, Henley Park, Surrey ca. 1983 architectural model (diploma work) Royal Academy of Arts, London |
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| Stephen Farthing The Understudy 1983 oil and beeswax on cotton duck (diploma work) Royal Academy of Arts, London |
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| Paul Hogarth Calle de Versalles, Porto Pi, Palma de Mallorca 1984 watercolor on paper (diploma work) Royal Academy of Arts, London |
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| John Craxton Landscape, Kaloudiana ca. 1984-85 acrylic tempera on cotton duck (diploma work) Royal Academy of Arts, London |
– quoted texts adapted from Royal Academy notes