"Unusual" Issue 13

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This issue aims to celebrate the uniqueness in all of us. Only through being unique are we able to stand out and shine. Don’t let anyone take that away from you. It’s yours and it always will be.

WHAT IS BUMF? BUMF is the official student publication from Arts University Bournemouth. We celebrate a selection of exemplary work from AUB students in print, online and across social media. ISSUE 13 New year, new editors and a brand-new edition of BUMF! We’re excited for you to delve into issue 13, which features all things ‘Unusual’. This is our first issue as the new editors of BUMF and we’ve loved going through all your unusual submissions. It’s been great to see everyone pushing their creative boundaries and responding to this theme in fun and surprising ways. This publication wouldn’t be possible without our wonderful team and all the people who submitted via our website. Thank you for your continued support and we hope you enjoy this trip down the rabbit hole.

Executive Editors Ellie Grant @gretellanie Laura Andrade @unthinkillustrations

Gallery Team Amelia Jackson Anna Lu Izzy Cunnen Lucy Kane @lucykane.art Serap Doglarliogly @dglrlioglu Stanislava Vaseva

Writing Team Brad Coulson @braddcoul Kwabena Devonish @kwabz_fash_comms

Photography Team George Maund @george_leon_maund Kinga Kutermankiewicz @kinga.jpg Leya Ahmad @leya_aub Miriam Kristen @miriamkristen

Illustration Team Lola Beale @trichechuss Stella Bonova @steluna.jpg Kalayaan Bagarinao @6000milez

Design Team Amalia Dominguez Isabel Murphy @isabelmurphydesign Eddie Suthers @eddiesuthersfilms Hyemin Kang @graphicdhm Rowena Shaw @rowenashawdesign


Emilie Ladouceur


Kwabena Devonish


“Black Daffodil”


Cally Bristow


Kira Green / Andrea Ban


Spencer Grant


Ellie Grant


Tabitha Grainge

29 31 33

“The Dip”

“Orange Sunsets” / “Concupiscence”

“It’s Not Unusual”

“En Pointe”; “Call of the Fey”

“Ornate Florals”


Matheus Bianchi


Kinga Kutermankiewicz


George Maund

47 49

Mattie Knapman “Gods on Tour”


Preethika Asokan


Jack Sheperd


Mansi Rana

“Love Notes to Self”


Photocollages Artwork


George Reynolds “Moon River”

Esmae Dougherty-Price Ceramics Artwork

Ciaran Fagan / Billy Budgen “Grief Comics” / “Crypt Tales”

Pau Mateu Sáez “No se si contarte”

“Tattoos through a Lens”

“Night Shoots at Rivers”

Clara Barroso “Dream Queen”

“Stick me to the white wall; make me famous!”


Laura Andrade Front Cover Artwork

“Gluttony” I always loved the smell of libraries. The paper, the ink, the imagination. It’s perfect. I walk in slowly making a conscious effort not to run despite the delicious smells surrounding me. I know the place like the back of my hand, I have my favourite spots, my own little corners. Unfortunately, I can only come early in the morning, or late in the evening. Let’s not even think about coming during the weekends. Too many people. They disturb me. Reading is private.

I observe attentively the shelves, crooked under the weight of the books. I enjoy the old smell of bouquet garni. One by one, I take them off the shelves, caress a few slices, look at a few covers, read a few summaries. I tremble with excitement. I search, I hesitate. What’s for lunch? Sci-fi, thriller, fantasy… Something lighter perhaps. A romance, a children’s book, a comic strip. All of this is mouth-watering.

I pull out a mystery novel. Agatha Christie and Hercules Poirot. Can’t go wrong with that. It’s always refreshing. I move to my favourite little corner, a deep red canapé threadbare with use, stuck between two shelves of forgotten philosophers. Who reads that anymore, anyway? Ancient philosophers are so distasteful. Comfortably snuggled in my canapé, I open my book. I devour each page, consume every word, feed on each chapter.

Emilie Ladouceur (Writer) Stella Bonova (Illustrator) @steluna.jpg

It’s not enough, I am still starving. I pick up a comic book, filled with bright colours, and return to my seat. A sort of sweet. I gulp it down greedily, enjoying the unique flavour of each colour. I put the emptied books down on the table next to me and stretch out my muscles stiffened by a whole afternoon spent sitting. As I walk through the doors, I hear the horrified screams of the librarian who just discovered the blank pages I left behind me. I smile while I lick on my darkened lips, the last drops of ink.


“Black daffodil” Growing up as black girl in a predominantly white space I am all too familiar with the question: “So where are you from?” On the surface this is just someone being inquisitive of another person’s background to gain a better understanding. However, over the years I’ve seen people’s disappointment, disbelief and discomfort with my answer. “I’m from Cardiff in Wales.” Then they proceed to ask “but where are you really from?” This is because more often than not people have what they think is the answer already in their head.

The idea that a black person can be Welsh is perplexing to them. For so long we’ve been taught this false narrative that Britishness is intrinsically linked to whiteness and that if you are of colour you are a ‘foreigner’ or some type of imposter.

(Writer) Kwabena Devonish

@kwabz_fash_comms (Illustrator) Lola Beale @trichechuss

In 2019, this idea is not only outdated but also thoughtless. This idea of this exclusively ‘Celtic and Anglo-Saxon’ Britain that George Orwell mistakenly described in his 1948 piece ‘The English people’ is in stark contrast to a new and vibrant cosmopolitanism of that time. (Owusu, 2000, p.13) For the past decades people of colour have made an enormous contribution to what we see Britain as today, from the music we listen to, to the food we eat.

Not to mention our infrastructure. The 1948 Nationality Act granted colonial subjects right of entry and settlement, this acted as a device to facilitate the free movement of labour from the Caribbean and the Indian subcontinent to meet Britain`s labour shortage. (Owusu, 2000, p.23) These people physically helped build Britain, so to exclude them from this idea of Britishness that they helped create seems bizarre to me. Owusu, K. (2000). Black British Culture and Society. London: Routledge.


“The Dip� People stay away from this place. There are millions of stories about the dip, this area, this forest. Stories of people vanishing into the forest, stories of finding bones of animals on the edge of the forest, stories of seeing people coming out of the forest. But no one truly believes these stories, as the stories are just myths; the people who have told them either die that week or vanish that week. That is why I am writing this story. You can believe me, or you can dismiss it. But this is my story. My story of what I saw in the dip.

Where I live, there is a forest. Around the sides of this forest is a dip of green grass and wildflowers around an acre in size. The grass, deep green and still a statue, is always cut short as if somebody tends to it on the daily, but nobody does. There is no way wind can get to this place, as the forests around the dip shelters it from anything. The trees are high and wide, with dark green leaves and dark wood trunks. They make a rustling sound continuously, even if there isn’t any wind.

I listen out for birds circling the area or trees rustling in the wind, but there is no noise at all, it is too quiet. I open my eyes, hours must have gone by as the sun is setting; a purple and pink sky is taking over, welcoming the night. I stretch and get up. As I’m getting up, I catch a glimpse of something shining to my right. I’m not sure what’s reflecting light onto this object, but again, I don’t question it. I walk towards the glinting object; it’s near the edge of the mounds; I quicken my pace. My heart stops.

Cally Bristow (Writer) @@callahcat Kalayaan Bagarinao (Illustrator) @6000milez

It’s a pair of glasses. “It can’t be. It can’t fucking be.” I shout into the empty space around me. I turn around, as if Kendal will jump out and shout “Surprise!” but I know that’s too far-fetched. I run to the pair of glasses. I pick them up, black rimmed with gold details. It’s his! “Kendal! Where are you?! KENDAL!” I scream until my throat aches. I scream into the abyss of the Dip, punching the air and cursing to the world. Why would he come here? Whenever I say let’s go to the Dip, he’d remind me of all the stories of lost children…oh.


“Orange Sunsets” My toes would play with blades of grass In the middle of my lawn in July. It’d tickle my base of my feet. And I’d watch the sun go down on me. It was always an orange sunset. The clouds always looked like disguises They were hiding new shapes like surprises. My phone goes off in my pocket. Another guy with pic requests... Another weight put on my chest. But there’s an orange sunset. I’d message my friends as I lay on my back. The sun would create patterns on the walls. They’d moan about the homework And how their boyfriends wouldn’t call. It was such a beautiful orange sunset. I watched the sky fade from blue to grey. I’d question myself almost everyday. Do I know what love is? Do I understand? I love this orange sunset, But I could never love a man.

(Writer) Kira Green

@poemsandq (Illustrator) Lola Beale


“Concupiscence” I sneezed and my lips cracked open I was actually thinking today would be a lipstick day But the blood sprayed out in a nanosecond and It drained them like a goddamn deflated balloon May they miss the emotion of a kiss so they Scatter as well as they can. All over the moquette, among the radiator’s Trenches they crawl on the walls, inside the fireplace, Under the door, Just so they could feel another touch But where the hell do they think they’re going They’re just drops of blood, There’s nothing sensual about this If they start writing “kiss me” on the mirror Nobody would believe it’s lipstick

Or maybe?.. Who knows, maybe the girls who leave traces Of lips and cryptic messages in red on mirrors In filthy tavern bathrooms don’t only exist in movies. In this case, I’m waiting for one to appear in my bedroom And briefly kiss my mirror in a gesture of Anarchy, daintiness, or bedroom Maybe this way my lips will be happy again And the drops of blood will gather back inside them From the corners of the room. They will slip back into every crevice And in the morning I’ll wake up with a smile That is alive again. Andreea Ban (Writer) @andreeaban Stella Bonova (Illustrator) @steluna.jpg


“It’s Not Unusual” I cannot, with any confidence, tell you the extent to which Tom Jones was full of shit. To do so, I think, would over-estimate my perception and under-estimate Tom Jones. I would reckon, normally, that it’s certainly unlikely anything he has found the confidence to sing about something I know more about than he does. But when it comes down to whether it is unusual to be loved by anyone, I have to ask about his reasoning. I find love to be extraordinarily unusual in itself, to say nothing of the idea that it could happen to anyone. Limerence is, I would say, perhaps the inevitable circumstance of a sexually-reproducing species attaining sapience, but those parameters are equally insanely unusual, aren’t they? I certainly don’t know of any other mortal species with the level of consciousness that we have. But, even amongst the species that do, it still seems wildly unlikely that we’d truly be loved by anyone. Love is such a hard thing to come by, and we tell ourselves we need it all the time, so consequently we’re always on the watch for it. Who’s to say we’re not mis-identifying it? What even would be a mis-identification of love?

In order to figure out what a mis-identification of love is, we must first come up with an operational definition. Although, for personal reasons, I’m not especially currently invested in any of the directions that love might pull me, I am too sensible of my flaws not to think it likely that I will decide to pursue it in the future, and defining it would be a good way of figuring out what I’d be looking for. Normally, I’d define love, as Charles Lindholme put it, “any intense attraction that involves the idealization of the other, within a [non-platonic] context, with expectation of enduring sometime into the future.” However, that would probably be too wordy to use in other parts of this, so to shorten it I will refer to love as “The universal human experience when looking at Paul Rudd.” With that out of the way, now we have to deal with the real questions. What secret does Tom Jones have that I am not privy to? So, I started asking around. Although Tom Jones and all of his staff ignored my numerous e-mails, after a bit of scouring the internet for information I learned that the song It’s Not Unusual was actually written by songwriter-composer duo Les Reed and Gordon Mills.

So, I dug a little deeper. While Les Reed was responsible for arranging the song, it was Gordon Mills who was known to have a tendency to write the words. However, it appeared there was some historical dispute over who actually wrote the song, and who was even involved with its production. Although Les Reed and Gordon Mills were both relatively private people in an era without the vice of social media tempting us to confess our most controversial food opinions, there was some information that could clue us in to their Weltanschauung to some extent.Â

Spencer Grant (Writer) @IbuprophenWithPH Kalayaan Bagarinao (Illustrator) @6000milez


For one, Les Reed was the author of a litany of songs about the Paul Rudd feeling. He married once and had a daughter. Conversely, Gordon Mills, was divorced from his wife and spent his last few years on this mortal coil fighting with other songwriters and music executives for rights to songs and certain recordings and the like. This was discouraging, I doubted Mills had much of an answer contained in his work, and while Reed might have, he was, again, rather private, and I didn’t want to pry and disrespect any surviving family.

The ancient Greeks were known to have many different “types” of love, each alluding to a different aspect of relationships, platonic and non-platonic. Some of them were for the Paul Rudd feeling, some might have been more for property, some for friendships, and one of them was even just a different term for “familial love.” Many of these loves are similar to the ways that I feel about people and the way that I’ve been treated by people. I just might not have truly processed it as “love.”

Taking the investigating in this direction was proving both exhausting and fruitless. Even when searching for the answers behind it, I was no closer to understanding the Paul Rudd feeling than I was before. Then, I came to a realization.

(Writer) Spencer Grant @IbuprophenWithPH (Illustrator) Kalayaan Bagarinao @6000milez

By making my operational definition too narrow, I was forgetting one of the most important aspects of love: It takes many forms. There was a reason all of these people were claiming to have worked on this song, and the reason was that they really loved it, and wanted to be a part of that. And, similarly, by focusing on the text of these people’s lives and their works, I was forgetting to read the subtext. They were all artists, and they all cared.

I’m still relatively certain that Tom Jones knows something that I don’t. All of these people, in fact, evidently know a lot more than I do. But, that’s okay. At the time of writing this, I’m 19. I’m just happy I asked a question and learned something. And you know what? It’s good to know that it’s not unusual to be loved by anyone. I think I needed to hear that.


“En Pointe” Purple lilies bloom from the arches of my feet and bluebells twist like vines round my ankles. Scarlet bulbs push through the cracks in my nails and spill their petals from my toes. Raindrops fall from my hair and sink into my skin, making their home in the fissures in my bones. My body is a tree without roots and in Stravinsky’s wind my leaves will loosen from their branches and jeté across the sky.

(Writer) Ellie Grant

@gretellanie (Illustrator) Laura Andrade


“Call of the Fey” The long grass greeted me with gentle caresses, brushing up against my calves as I moved. Leaves scratched against my knees and flowerheads tickled the underside of my feet. The air was coated in a thick lavender perfume, sweet but not sickly, a freshly baked slice of spring. The buzzing of insects, which was usually a nuisance became a bird song and my body tingled with the sudden urge to dance. My body was no longer in the garden. It was watching the symphony orchestra, legs bouncing as they played a jaunty tune. I heard the trill of flutes, the soft velvet of a violin and something unlike any sound I’d ever heard from an instrument before—a sparkle.

I couldn’t keep my eyes closed any longer. When I opened them, it was like a whole new spectrum had erupted in front of me. Colours swam into each other, shapes magnified and twisted into forms that floated in the air. Bright little stars zipped in and out of the foliage and around my head, pulling at strands of hair. And all the while the music got louder. I could no longer resist. I danced. The melody repeated itself over and over, lifting up into the sky and gliding along with the clouds. I sang along, skipping and singing to the enchanting melody. The world grew brighter and brighter. The stars grew into larger, more human-like silhouettes and filled with colour. It was like watching an artist at work, fine brushstrokes painting on the most beautiful faces I’d ever seen. I reached out to touch them. They reached out too, beaming angelically as their hands inched closer to mine. But before we could touch, electricity sparked between us and I collapsed to the ground.


“Ornate Florals ” WHAT INSPIRES YOUR WORK? My work is typically inspired by upcoming fashion trends that I research on WGSN as well as current exhibitions. To be completely honest, it varies project to project- but I’m generally inspired by art and artist movements. I love to reference classic fine artists in my work and try and contemporise elements of their work.

Tabitha Grainge @tabithagraingetextiles


WHAT IS YOUR WORK PROCESS? In this project, I used Photoshop to collage the photos I took into motifs that I then drew in order to get the illustrative style I wanted. I am a digital-based designer, so I scan the drawings back into Photoshop and then compose the design there. After having these designs printed, I work back into them with screen printing and foiling, amongst other hand techniques in order to make the design more interesting.

Tabitha Grainge @tabithagraingetextiles


“Dream Queen”



I have always been inspired by fashion and storytelling. I think both combined is a great way to describe my work. I can say that my style is constantly changing, however, I always find my way back to photograph mainly female models and the way I portray them and make them feel beautiful and confident in front of the camera.

As a young photographer and student at AUB, I believe that I still have a long way to understand my style and what I want my images to tell/represent. I am very colourful with my work. In all of my images, it needs to have colour. Colours are the most powerful way to portray emotions in an image towards the audience, without using any words or emotions coming from the model’s face and body language. The current message that I am trying to create within my images is based on how beauty and fashion can be seen within women. How pure the concept can be, making the image simply beautiful.

Clara Barroso (Commercial Photography) @claraxbarroso Charlotte Louis (Makeup artist) @whelanartistry Jennifer Coffrey (CosTume Designer) @coffreyandcostumes Ellie Cahill (Model) @ellielilymae


“no sé si contarte”

WHAT INFLUENCES YOUR WORK? Definitely people. The people around me are what evoke my emotions, which eventually become palpable. All I do is express those feelings. WHAT IS YOUR WORK PROCESS? It keeps changing. What I really enjoy about making things is that I work with whatever medium I am first drawn to . For example, the process of this book has been more than 4 years long. It absolutely happened when it was meant to. It needed to breathe.

Pau Mateu Sáez @paumateusaez


“The Splendor of Light�

WHAT INSPIRES YOUR WORK? My fine art practice is predominately crafts-based. It directly resonates with the legacy of feminist art, which has investigated issues such as aggression against women, female sexuality and female craft. My impulse to present these themes come from a desire to observe the self and society I live in.

Esmae Dougherty-Price @esmaeprice_art



WHAT IS YOUR WORK PROCESS? My work process usually involves finding relationships between contemporary art and historical influences, medium and artistic concepts, including my love for all things grotesque, kitsch and uncanny. I then use experimentation with these ideas to inform my finalised ceramic sculptures.

Esmae Dougherty-Price @esmaeprice_art


Taping yourself to a wall might seem like an odd approach to modern art but MA Fine Art student, Matheus Bianchi, just had to give it a go. We caught up with him on campus to find out what this bizarre move was all about and where he wants to take his art next.

“Stick me to the white wall; make me famous!” WHAT WAS THE INSPIRATION BEHIND THE PROJECT? I was looking at my body in terms of being an artwork and selling my body as the artefact. I wanted to see the relationship between me and the wall. I wondered how that would look and how that would come across and how could I achieve that. HOW DID YOU PREPARE FOR THE PERFORMANCE? It was very spontaneous. It’s not everyday that someone wakes up and says, ‘oh I’m going to tape myself to the wall!’ I had a lot of help from my classmates— they were very involved in the performance as well. There were a lot of discussions about the logistics of it, so I had full control of the performance, but at the same time I didn’t because I was relying on them. They reassured me of what they were going to do and how they were going to do it. DID YOU FEEL NERVOUS? I think so. As an artist I like to take full control of my artworks, but I was giving someone my body for them to do anything to it, there was no direction. So, of course, that makes you a bit scared because you don’t know what’s going to happen until you’re actually doing it. But it all worked out in the end. HOW DID PEOPLE REACT TO THE PROJECT? This was the most interesting thing because in my head I was simply taping my body to the wall, I didn’t know it was going to be symbolic. But the more I analyse it I pick up such small details that are so symbolic and have so much meaning. My classmates that were involved told me that they felt very engaged and they enjoyed my patience and my stillness. It was over 1 hour and 30 minutes. I was just staring at one point ahead of me and I just stood there on a stool so they could tape me. They were very focussed on the connection between my body and the tape, and my body and the wall. They were interested in the themes that came out in terms of relationships, connections and communication. It was very symbolic in the sense that artists were taping another artist to the white wall of the gallery and we all enjoyed that theme. DO YOU HAVE ANY PLANS TO DO ANYTHING LIKE THIS AGAIN IN THE FUTURE? Absolutely. With an artwork, its always good to redo it. I’m creating these sculptures out of tape but it’s my body. I wrap the tape around me and then I cut them out and stitch it back together and fill it up a little bit, so it has shape. It’s funny that these sculptures that were once on my body can be filled up again and they have life again. And what I realised from the first performance and these tape sculptures is that I’m encapsulating time. There’s an element of time in my performance and my piece in the moment.

Matheus Bianchi @m_biianchi


Kinga Kutermankiewicz @kinga.jpg

“Tattoos Through a Lens”

Through my photos I want to capture the uniqueness and individuality of every subject. For this issue, I wanted to capture ‘unusual’ aspects in people with face tattoos as I’ve seen a lot of this in Bournemouth. I admire people who dare to stand out and having such visible tattoos is very out of the ordinary.


Kinga Kutermankiewicz @kinga.jpg


“Night Shoots at Rivers”

Taking photographs at night is a much slower process, which allows you to take in more information and forces you to take a step back and look at the whole scene. Making night time photographs is just as much about the process than the end product, it requires planning, scouting locations and knowing what the image will look like before it’s been taken This series represents the unusual through photographs of places that in the day would be normal, like leisure centres, but with the element of night it creates and eerie and usual scene.

George Maund @george_leon_maund


“Grief Comics�

Ciaran Fagan @fagan.ciaran

“Crypt Tales”

Billy Budgen @billy_budgen_illustrate


“Gods on Tour”

WHAT INSPIRES YOUR WORK? I am drawn to artwork that doesn’t take itself too seriously, hence why the absurd and fantastical appears so heavily within my own work, especially having watched a lot of sci-fi, Adult Swim and bombastic anime throughout my college years. I think the juxtaposition between mature, taboo themes and colourful, fun imagery is such an interesting contrast, hence why I tend to be drawn to this kind of content as inspiration. WHAT IS THE MESSAGE YOU WANT TO COME ACROSS? I wanted to simply communicate that everyone needs some time off to let loose, even if you are an omnipotent, divinely righteous, supreme god. It was important to me to make people laugh, and I think the irony that comes with these holy and virtuous beings partying, taking drugs and having sex, is honestly pretty funny. And I think the fun almost child-like visuals really helps lend to that. It captures the essence of equality and harmony that is so desperately missing in society today. If all these deities from different dimensions, cultures, galaxies and realms can get along and have a good time, why can’t humans do the same?

Mattie Knapman @wagweezi


“Love Notes to Self” WHAT INSPIRES YOUR WORK? Most of my inspirations come from the places I travel, nature all around, people I meet, the conversations I have and in general existential crisis. Keeping in touch with the art/design community is vital for me. I try to attend workshops and events to meet new artists/designers, exchange ideas and learn new things. With the exploding popularity of social media, artists find new means to make their voices heard and extend support for unspoken issues. I follow and admire the works of Jessica Walsh, Stefan Sagmeister, Malika Favre, Goro Fujita, Marjane Satrapi, Sameer Kulavoor and so many other brilliant creatives as they keep me going every day. WHAT IS THE MESSAGE YOU WANT TO COME ACROSS? In the nature of things and their happening, there is truth, wisdom, and wonder. But they’re hardly noticed, admired or even understood. So art is a way for me to renew a sense of wonder towards things that need admiration, open perspectives for change amidst acceptable social structures, break silence on things that need a voice, renew meaning to a forgotten truth, and to immortalize human nature through artistic expression. rent dimensions, cultures, galaxies and realms can get along and have a good time, why can’t humans do the same?

Preethika Asokan @preethikaasokan



WHAT INSPIRES YOUR WORK? My work tends to be inspired a lot by movies and TV, not in the concept sense but more through storytelling, I like storytelling that leaves the audience to work out what is going on, that confuses at first but the more you think about it the more it makes sense. Shows like Twin Peaks, which is super important to me, and the style of storytelling used by David Lynch is sort of what I try to incorporate into my work. WHAT IS YOUR WORK PROCESS? I am a bit of an amateur with Blender but that’s what I use to create most of my work, I render and then import to Photoshop for cleanup. I always sketch first though, nothing beats a pen and sketchbook and I always carry a small one with me, so that means I’m prepared even if I forget to draw in it... The hardest thing for me is just doing it, I spend way too long thinking but I guess that helps when I do come to sketching! It’s good to have an ongoing project like this that I can just add to and build the storytelling of, whenever I want and for as long as I want.

Jack Shepherd @jjshep


WHAT INSPIRES YOUR WORK? What inspires my work are the various emotions behind the everyday life of a person, which may consist of sadness, happiness, excitement, sexual desires, anxiety, anger. My work is also based on the stereotypes which have risen against women and I aspire to show case my views and thinking on such stereotypes through my work. WHAT IS YOUR WORK PROCESS? My work process is an evolutionary process which commences with the origination of an idea. My analysis and views then give effect and it is through my beliefs and values that I try to showcase my work depicting my personal beliefs. I generally create my layouts on photoshop, with the aid of Indesign .

Mansi Rana @basic.palette


“Moon River”

WHAT INSPIRES MY WORK? I’ve lived by the coast for most of my life, so drawing beach-like landscapes and any marine related things have always been linked to my illustrations in some way. I try not to overthink when I’m creating work or start a projectinspiration for my illustrations can come from anything; a walk, a weird dream or just by starting to doodle in a sketchbook. WHAT IS THE MESSAGE YOU WANT TO COME ACROSS? I’ve only recently considered a message behind my illustrations. I think most of my work is orientated around what looks nice and what I think is aesthetically pleasing, but this year I’ve been pushed to give them more meaning. I’ve been experimenting with wordless narrative, and I’ve found that any sequence of images can provoke an idea of a story behind it.. As a whole though, I want my illustrations to be something you can be immersed in and intrigued by.

George Reynolds @george_reynolds1


WHAT INSPIRES YOUR WORK? My work is mostly derived from my emotions. If something disturbs me, or makes me happy, the probability that I will draw about it is very high. Because it is so emotion filled I normally use a lot of color, predominantly purple, blue and yellow. For the “UNUSUAL� cover I tried to capture this trippy smiley faces induced vibe, sort of someone looking at something unusually good and feeling it very intensely. WHAT IS YOUR WORK PROCESS? Everything I do almost always starts with a scribble on my notebook. It is a sacret space for me, so I carry it around just to have in hand if inspiration strikes. After that first sketch I either use ProCreate, Illustrator or After Effects. My work process psychologically speaking envolves good headphones, music, a confy place to sit and the right mindset.

Laura Andrade @unthinkillustrations


A big thank you to our BUMF team, everyone who submitted their work and the good people in AUBSU.






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