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Issue 10 - Narrative

Lydia Tamara / Charlotte Ward / July Sumalde / Kinnari Saraiya / Beatrix Hatcher / Toby Fox Drew / Georgia Tunesi

Sveinn Kristjรกnsson / Brittany Sutcliffe / Matthew Ponting / Daisy Leigh-Phippard / Jessica Ledda / Sarah Gomes Munro


Contributors Submissions Daisy Leigh-Phippard Lydia Tamara Charlotte Ward July Sumalde Emma McEvoy Katie Sergeant Kinnari Saraiya Beatrix Hatcher Dot Falla Sophie Elliot Ana Clark Alda Lilja Madeleine Wythe Dan Lukosius Andy Edwards Toby Fox Drew Georgia Tunesi

Editors Sveinn Kristjánsson Brittany Sutcliffe Designer Matthew Ponting Content Managers Jessica Ledda Sarah Gomes Munro Writer Daisy Leigh-Phippard Front Cover Georgia Tunesi

Introduction Having both been a part of the BUMF team in the past, we’re royally stoked to be heading off this year in the driving seat. So, for our first issue together, we’re all about narrative. As creative people, we all know that good work is not magically conjured up overnight. There’s a story behind it. Think the bonus section of a Hot Fuzz or the

Harry Potter Studio Tour. The blood, sweat, and canned food that goes in isn’t always reflected in the final product. The narrative issue is our way of sharing the journey and the destination. Thanks to all of you who christened our new inbox with your submissions. Every one of you proved our point. 1

Contents pg 3

Editors Letter

pg 27

pg 4

Hearing Narratives Speak Daisy Leigh-Phippard Samuel Prentice

Creatures Landing in Canada! Margarita Louka

pg 28

40 Years of Grease Lydia Tamara Charlotte Ward July Sumalde

Be in the Water By the Coast And you’ll be ok Ana Clark

pg 30

pg 14

Totality Emma McEvoy

The Deer Madeleine Wythe

pg 31

pg 16

Memory Rooms Katie Sergeant

Blossom Dan Lukosius

pg 34

pg 18

Reflective Mausoleum Kinnari Saraiya

Creatures Toby Fox Drew

pg 36

pg 20

The Miniature Gardener Beatrix Hatcher

Who, What , Why, When of Success Sarah Gomes Munro

pg 42

Maurice Ravel: A Journey Through Life Andy Edwards

pg 7

pg 22

Dorothy Dot Falla

pg 25

The Power of a Manager Sophie Elliot

pg 44

BH9 2QL Morven Shortt

pg 26

Self Love Club Alda Lilja

pg 46

Black History Month Louise Hall Georgia Tunesi


Editors Letter Illustrated by Toby Fox Drew

Once upon a time not so long ago in a land not so far away, there were brilliant creatures by the names of Rachel and Hannah. They ruled the kingdom of BUMF in a fair but powerful manner. They moved mountains and built up the kingdom like never before. But centuries passed and they grew weary of unruly peasants and university deadlines. They laid down their sceptres and crowns and walked away, never to be seen again. For millennia the thrones were empty along with the heart of the land until one day, out

of nowhere, new King and Queen by the names of Svenni and Britt appear, along with the knights of the golden pencil. Their path strewn with jewels and promises of a new dawn. The sun began to rise on the kingdom of BUMF once again. Thank you Rachel and Hannah for the amazing job you’ve done, we hope we can live up to the bar you’ve set. Love and admiration, Svenni and Britt 3

Hearing Narratives Speak Daisy Leigh-Phippard Telling stories is intrinsically founded in everything humans do. Or rather, in the way we internally process everything. We can understand facts and figures, but it is through narrative that we are emotionally engaged. It’s like joining the dots of what we know; we teach children morality with fairy tales, explain how we felt about a holiday through an anecdote, and relax by watching a fictional character’s journey on a television or canvas, read it in a book, hear it on the radio or in a song. Narratives of all kinds feed into our everyday lives – it’s just basic communication. But what really sets a narrative out from a list of information (past technicalities of story structure) is that something is being told to us. It might be in a voice-of-god narration, or the writer’s style of prose – even the choice of colours or shapes used in a painting – but the narration is what elevates something from data into storytelling. To put it another way, it’s what we draw meaning from. Because really, all meaning is a comment on the human experience, and whatever perspective is speaking out (a.k.a narration) is the one that reaches the audience and tells the story. Of course, there are also practical reasons for why we use a direct line of communication with the audience in various art forms. To make our stories accessible to varied audiences there needs to be some kind of structure or logic set out for the audience. It’s a bit more technical than the creativity of an artist’s voice, 4

but it’s still important. Whether it’s linear chronology in a television show or heavy boots on a costume piece, these choices of detail imply a whole manner of information that tie into and expand the story. Some mediums are a lot more straightforward than others – I think most of us would recognise if something is being shown in chronological order before the mud on someone’s boots. And as a filmmaker, I have to say I speak from the experience of one of the more direct forms of narrative. In direct storytelling forms like films or novels, a lot of us like to be immediately told everything (exposition, world-building and character profiles included), and complain if we aren’t. Yet at the same time we criticise those that get bogged down in irrelevant information and forget to actually tell us a story. Ultimately, it’s a uniquely human confliction: to want to know everything available to us, but only pay attention to the interesting bits. The job of the artist, then, is to know what your audience does and doesn’t need to be told in order to appreciate and understand the narrative you’re telling them. And it’s a pretty useful thing to know when you can indulge them a little bit too. Some people won’t appreciate the effort that has gone into making the bottom of an actor’s trousers damp when they come inside for a scene set first thing in the morning. But when it comes down to it, those are the little details that make the final product all the more interesting and authentic.

BA (Hons) Film Production

Illustrated by Samuel Prentice Instagram: @cymkillustration 5

They make the story come alive. These little narratives are still being told to the audience, it’s just whether they’re listening or not. So is it more satisfying to be able to work out narratives as you go along, rather than be given everything immediately? It all comes down to the exact example you have in front of you. Arguably, media that not only engages but guides the audience is more sophisticated. This is probably where a lot of the elitism around fine art has grown; from the idea that traditional forms of art favour ambiguity and therefore ask more of their audiences. But let’s not get into the snobbery game. Instead, consider this: different forms of media use storytelling differently. It’s not a case of what is of more value, and who is more clever than who. They are just waiting for different kinds of people to listen to them. Meaning can be communicated in so many different ways, even if it ultimately has the same result. Based on things like an individual’s preferences, personality, passions, certain art forms will be able to speak in a language that the person will understand more than others can. And this isn’t just over whole mediums. Within film there’s a million ways to tell a story: innumerable genres, character types, settings, time periods etc. The same goes for any medium. It’s why even if you’re telling a story that’s been told a thousand times your perspective, experience and chosen form is what can make it new. Of course, each form comes with it’s own 6

set of limitations – and more often than that, it’s own set of rules or expectations that audiences will expect you to follow. For people that aren’t artistically inclined, having things like linear narratives and universal images can make stories accessible. But for those of us who are, it can sometimes feel like a bit of a drag. I don’t think it should have to be. While we’re worried about originality and coherency, ultimately narratives are things that naturally form in our heads because they’re so internalised in our culture and the way we communicate in our everyday lives. A lot of those rules exist because they make sense. Don’t get me wrong, as artists it’s our job to be constantly testing and bending those rules. That’s progress, after all. And sure, maybe try and be more creative than giving your exposition in a voice over at the start of your film; if you’re trying to graphically show the feeling of isolation or loneliness, experience with your visuals past someone standing alone beside a crowd. But your meaning is embedded in your experience as a human being, and that is where the narrative comes from. Trust your artistic instinct and the rest of the story will follow. It’s just basic communication. Instagram: @thedaisydeer

40 Years of Grease Lydia Tamara

BA (Hons) Make-Up

Make-Up Artist My final project for second year was inspired by the 40-year Anniversary of Grease. I decided on the context being an advertisement for MAC Cosmetics, releasing their summer limited edition collection. My aim was to convey narrative by combining makeup, hair, costume and location.

perfect setting for my shoot as diners were a popular social place for young people in the 50’s. With the help of props such as cigarettes, bubble-gum and smoothies, this initiated a fun young narrative to comprehend with MACS target audience of young adults.

With the brilliant help of my photographer July Sumalde and Stylist Charlotte Ward, I was able to bring my vision to life. The models were inspired by the two characters Frenchy and Marty in the film, specifically from the ‘Beauty school dropout’ scene, and the school disco. I created a lace fronted wig in the style of Frenchy’s bubble-gum pink hair for my first model and made a chignon hair piece, clipped and styled it into place with a 1950s French Twist for my second. I was inspired by the decorative themes of the 1950s which included Earthy Scandinavian patterns and colour palettes from Pretty Pastels, using these influences in makeup and costume. This allowed for the characters to be recognisable within their period. When researching location’s in Bournemouth I came across ‘The Prom Diner’ a perfect location for my shoot with its vintage retro touch of the 1950s American diners. I thought this was a 7

Charlotte Ward

BA (Hons) Costume Design

Stylist I was given the brief of placing costumes in 1959 with a slight modern twist. The outfit for Frenchy had to match the theme of the pastel makeup, be girly and fun. At first, I looked at two pieces involving a pencil skirt and tie up top, however the dress seemed a better fit as it was more formal. For Marty’s outfit, modelled by Arletta, I used the same green colour scheme used in her dress in the 1978 film ‘Grease’, but following the brief to take on a more Scandinavian look, the leaf print dress and kitten heels used in the final outfit gave it a classier look. Finally, the beauty school dropout outfit followed a modern theme. The 1978 outfit from the film was very silver, I thought a black and white polka dot print would tone this down from the roller wig and help it look less space themed. The dress had a typical 50s full skirt, to keep it closer to the style of the film. I used wiggle dresses for Frenchy and Marty to give a sleeker fit, as a fuller skirt with Frenchy would have looked a bit too youthful and Marty needed to look classy. Simple pearl earrings and necklaces were used, which were typical of 50’s jewellery. The glasses Frenchy uses in some shots were my own, as I had previously worked on another late 50s/early 60s styling project, so that came in handy! It was a pleasure to work on such a fun collaborative project. 8



July Sumalde

BA (Hons) Commercial Photography

Photographer For this shoot I looked at the aesthetic of 50’s fashion photography to understand the poses and the shooting style. I didn’t want to make it seem that I was simply replicating the 50’s scene but incorporating the era’s style and giving it a modern touch. Hence with the final edits, it has this dreamy 50’s style haze and a contemporary look to it. It was such a fun and bubbly shoot so it didn’t take much directing as the girls got into their ‘characters’ from the make-up, hair piece and outfits. Instagram: @lydia.tamaramua @charlottewardcostume @julysumalde



Illustrated by Jessica Ledda 13

Totality Emma McEvoy

This publication tells the story of the earth in shadow of the moon through a collection of stories from various people’s experiences of the solar eclipse. Around the world, a total solar eclipse takes on a special human significance. For some, they are an anniversary which strike their homes with a vanishing rarity, to be celebrated with awe and wonder. But a certain set of people aren’t limited by geography. Eclipse chasers cross borders and time zones to get a glimpse of this elusive celestial event. Each story captures a special moment in time. A chance to celebrate the human connections and experiences 14

this natural phenomenon has created. Pictures documenting their adventures over the course of decades have been printed onto the page by blocking out sunlight onto photosensitive paper, mimicking the process of a total solar eclipse. Creating these prints requires, in the first instance, relying on a spot of good weather, a dependency which can put one firmly in the shoes of an eclipse hunter. As the cyanotype images rely on UV light, indoor lights are no substitute for the sun. The process of blocking out the sun’s light to form the print is a tangible metaphor for the eclipse and a means of capturing

BA (Hons) Graphic Design

these personal and special moments using the sun. The cyanotypes produce a striking dark blue that ties together with the typographic elements. It gives the book a limited-edition quality that can only be replicated by going by the same process of exposing the images in sunlight, with inserts inviting the reader to experience and come in contact with the imagery. The cyclical nature of eclipses is present not just through the stories contained in the book, but in how the book is composed.

The dimensions of the book are based on the number of longitudinal and latitudinal lines that make up the world. Rather than a traditional linear structure, pages are arranged from the centre outwards, taking the meridian line at 00’00’ as the saddle stitched line at the centre of the spine. Phases of a solar eclipse are used to paginate the book, with the moon progressing as you read towards the centre and away again.

www.emmamcevoy.uk 15

Memory Rooms Katie Sergeant My work essentially focusses on the spaces we inhabit, and how we remember and emotionally approach the thought of these spaces. I think we really overlook the places we’re in on a daily basis, be it our own homes or community spaces, and what goes on within them, and we may, therefore, not realise their personal significance until they are ‘gone’. The house you lived in as a child, your grandparent’s home, the shopping centre you used to visit, the football club where you once played; all of these places you will come to miss. They almost become personified with the emotional significance that can come to be placed on them within our memories. Within this project, I have chosen to depict a place I remember particularly well from my childhood – my grandparent’s old house that they lived in until I was eleven – numerous times and in different ways. The images you see, of the two sitting rooms and garden in particular, are as I see them from my memories as a child growing up in that vast house. The use of colour (or lack of in some cases) is a personal choice, and a way of visualising the different emotions I remember feeling within the spaces. In some instances I’ve found photographs taken of/ within these spaces, and the difference between memory and actuality is interesting, since what I’ve remembered isn’t necessarily accurate, but it is to me, since my experience of the space is factored into my memory of it. The significance that four walls can hold 16

to a person can be staggering. In a way I have tried to replicate this in my work, with my very linear, simple depictions of the interiors; there is both a lot there and nothing at the same time. A space can mean everything to one person, and nothing to another. If something bad has happened to you in a space, but not to me, then our view of that space will be very different. This is certainly an ongoing project for me, as there’s something about depicting these places that intrigues me. In a way, it’s like painting a portrait of a person without them actually being there; the space/s they inhabit can say a lot about them.

Instagram: @katielucysart

BA (Hons) Fine Art


Reflective Mausoleum Kinnari Saraiya Being an International student comes with the perks having a different cultural background that others may or may not be aware of. The most exciting aspect of it is to be able to use the cultural knowledge in artworks and stun the audience. I find it interesting using my origin and knowledge of the Indian colonial history, the British Raj, the piece of history that ties Britain and India together, in my work. Ironically bringing forward the cruel colonial doings of my place of residence in the moment to my place of origin. Focusing


on the changes brought to India during the colonial time, I decided to enlighten the existence of architectural symbolism before and after the colonial rule. I made this piece taking inspiration from the Taj Mahal, built well before the colonial rule, keeping mughal architectural qualities in mind. Taking symbolism straight out of a masterpiece and using it to create something just as dynamic and powerful wasn’t easy and took 2 months of hard work and planning. The Taj Mahal has a square base that symbolises Earth, the mausoleum has an octagonal base

BA (Hons) Fine Art

the sculpture was made keeping in mind the mughal symbolism of square to Earth and the change brought by the British of the perfectly squared gardens. I made a dark /black room with a tiny entrance and placed the cube along with the source of light in the centre of the room. The person who enters the room becomes a part of the work as they’ll have the projections of the designs on them. My piece was described as ‘a ritualistic shrine’ by my course leaders.

representing Paradise and it is topped with a dome pointing to the sky, meaning ‘From Earth to Paradise’. It is said that it’s the palace where the Last Judgement is going to take place and it’s the gateway to heaven. Stepping into the Taj Mahal is like experiencing paradise, and I wanted to create such an aura around my piece. Taking inspiration from every intricate detail of the interior of the mausoleum I designed panels that would then be assembled into a cube. Every aspect of architectural symbolism used in the making of the monument is carefully considered in the making of the cube. After the last Mughal ruler was dethroned and the power of control was handed over to the British, the garden was chopped down to be perfectly squared to represent ‘French gardens.’ The shape of

Instagram: @art.kinnarisaraiya 19

The Miniature Gardener Beatrix Hatcher The Miniature Gardener is a short animation I created for the final project of second year using a technique of replacement animation. I created each scene digitally using the animation tools on Photoshop before then copying each frame and pasting it into a template that gave it a base of folded out paper to stand up on. After printing each of the frames (12 frames for each second of the animation), I then painstakingly cut them out and folded each piece so they were able to stand up on their base. The extra flap of paper also allowed for the pieces to be positioned in the exact same place so they could be easily swapped out between photographs. I knew this project was ambitious and admittedly it did take over my life (and gave me at least one nervous breakdown per week).


There were challenges that I’d never had to deal with before such as trying to keep the lighting consistent between frames and learning how to properly focus a camera! It also forced me to explore the strengths and weaknesses of my primary material, paper. I was able to use it to obscure and

BA (Hons) Illustration

reveal elements of the narrative, to create shadows and depth and even recycle pieces between scenes. Yet at times it frustrated me – I would cut out ambitiously tall shapes, standing them up only to find that gravity had other ideas. There’s only so much wire, tape and string can do! I also found myself constricted to working on ground level, a problem I eventually overcame in post production through re-editing scenes on Photoshop and animating the more tricky parts such as the clouds digitally. Most shatteringly of all – on more than one occasion, someone would walk past the table where I was working even slightly too briskly and

everything would go flying! And yet, I can honestly say I that through the stress of it all I enjoyed coming into the studio each morning and picking up where I had left off the evening before. I am glad I took the risk of doing something that is completely new to me – there is an enormous sense of satisfaction in working hands on and seeing everything come together so literally in front of you. www.beatrixhatcherillustration.com Instagram: @beatrix.hatcher




BA (Hons) Visual Communication

Dot Falla I chose my topic based on a particular article called ‘The Dark Side of Oz, The Exploitation of Judy Garland’ by Neil Norman for the Express. I found out that the young actress was humiliated while working under MGM’s constraint. She was drugged, groped and isolated by the other actors. I just could not believe this happened to an actress who played a character that was a huge part of my life when I was younger. Not only do I share my name with Dorothy from The Wizard of Oz, but it was also one of my favourite movies when I was little. I think it really upset me, but I’m glad I found out, I feel like I can now, in just a tiny way, help Judy Garland by acknowledging her distress. My concept was, in short, to create a hard-hitting, shocking and quite upsetting read into something more light. That is why I chose to create a coffee table book, these have huge amounts of text, in the format that is easy to read and easy to understand. This is so, that, if wanted, a reader could pick it up, flip through it and get a good understanding of what the book is about. I feel that this is something that the final book entices; because of the texture and it’s bright colours, the reader will want to pick it up. When it is opened, the textured inserts contrast against the plain white text and therefore, aesthetically, look intriguing for the reader.

coming together to become Judy’s life. This was to get a greater understanding of how I could visualise the humiliation and ugly truth for the reader. I placed small coloured offcuts in between the pages to create little interruptions in the clean white book. I thought about how the book had begun to challenge the reader, and how all these interruptions were sprouting out uncontrollably. By discussing textures, and how, with these inserts, the ‘normal’ texture of a book was denied and using the contrast of bright, vivid intrusions, and white, pure paper, the book explored duality. It was decided to pursue an idea that the book would include the entire story of the Wizard of Oz, the happy, joyful fairytale with a happy ending, but with truthful inserts relating to the mistreatment

I looked at metaphors for Judy Garland’s treatment, and to then relay that on paper. I began to think about duality, and how to visualise two entirely different worlds 23

drew inspiration from existing Oz art from posters and book covers. It was mainly greens and yellows, representing the Emerald City and the yellow brick road.

of Judy Garland. I used the concept of ‘challenging the texture of a book’ and using bright vivid colours to represent the modern connection to Judy’s story and Weinstein and #metoo movements in the current day. I was inspired by Alma Haser who uses printed photography, scrunched, over another photo. Her portraits inspire conversations about mental health and loneliness. By using the scrunched up versions of photographs, the image becomes distorted and fuzzy. I really admired this message and used it to inspire my very own message. I would carefully try to unfold it but discovered that once a picture has been screwed up, it’s impossible to flatten out and recover it. I thought this idea had many connections to Garland, how her time at MGM had been the catalyst for her downward spiral that ended with her death at 47, just 30 years after the film was made. This was when I decided to keep the colourful inserts, inspired by contemporary trends, keep them full size for easy binding and full exposure to their message. These inserts are part of the ‘reality side’, they tell of the horrid experience Garland endured, therefore they represent her and her life, it makes sense for them to be screwed up and ruined. The folds become to look like scars and small tears appear to show her submission and her weakness. We must remember that Judy Garland was only 16 when she began working on the film and therefore was still just a child. I first 24

These two colour visuals are very fitting to my idea, however, I thought I should add another, one that I recognise, which was the blue checked dress that Dorothy wears. Using these colours, this was when I found the idea of using a gradient told the story in itself. Starting with the blue dress, then going down the yellow road, to finally get to the Emerald City. This transpired multiple times to become a recurring gradient of blue and yellow. Yellow also represents fun, happiness, and joy – which relate to The Wizard of Oz tale, but contrast nicely with what the text on the inserts say, like ‘Mayer (her boss) took to groping her in his office’. For the novel part, the ‘fantasy’ part, I wanted it to represent the old-fashioned book, just like the ones selling in the 1900s when L Frank Baum wrote the book. I wanted the fairytale story to look so bland and dull compared to the contemporary, Futura fonts on the inserts. Even though the subject matter is quite bleak, the book does not need to be made out of black paper, with dark metaphors and misery. It should be fun, bright and hopeful, it should shed light on the matter, to engage an audience and captivate interest to pick up. There are not too many words explaining the concept, I really wanted it to come through by looking at the book and taking the time to understand the reasons behind the dual narrative and the contemporary influences. www.deeohtee.com Instagram: @deeohteedesign

The Power of a Manager

BA (Hons) Illustration

Sophie Elliot is quite commonplace in Bournemouth at the moment. Jobs are harder and harder to come by, and the best kind of job that students can expect is a 0 hours contract, where you are not even guaranteed the hours you are promised in your interview. So I just imagined that by being a manager, you can hold people to account and be “above” the rest of the staff and wield some kind of power. I reckon it would be pretty cool to me a young manager. (That and being able to tell rude baby boomers to “respect the policy”). Instagram: @sophieelliotillustration

This piece has come from my summer experience working in retail. I spent around 3 weeks working as a waitress in a local cocktail bar and it was the worst retail job I ever experienced. The payroll messed up my first weeks paycheck (meaning I lost around 100 quid), the general manager never followed it up, the hours were unreasonably long, and I only got minimum wage. Unfortunately, this 25

Self Love Club Alda Lilija

This project is about self care and self love, focusing mostly on queer women and non binary people. The artwork is made in clay and painted with acrylincs and varnished. I focus on fat bodies and body positivity. Self care is sexy. What’s your self care routine/what do you do that is *just* for yourself? I like taking nice long showers with fancy soaps, hair and face masks and listen to audiobooks. That’s what I’m trying to convey with my claybowl paintings. Instagram: @aldalilja


BA (Hons) Illustration

Creatures Landing in Canada!

BA (Hons) Illustration

Margarita Louka This was done for one of my university projects, where we had to choose a short story and make a wordless narrative out of it. I chose Margaret Atwood’s story, ‘The Martians Claim Canada’. It’s a humorous story where aliens land in Canada and have a chat with some talking mushrooms, and the mushrooms subsequently tell them the colonial history of America and Canada. I changed my story slightly to show the bizarre alien landing through the eyes of the mushrooms, changing the aliens to be the humans who colonised Canada and America. Since the mushrooms view both the humans and aliens to be ‘alien’ to them, it makes the reader question what ‘alien’ means. Instagram: @margaritalouka_illustration


Be in the Water, By the Coast, and you’ll be ok Ana Clark I was born in a bathtub in Rio de Janeiro and ever since I’ve loved being in water. There’s something about the stillness yet overwhelming power that feels comforting during complicated times. This year has been difficult - struggling with past trauma and trying to figure out a new normal, but what I was reminded of was my relationship to water & the sea. It has become the narrative of my life and defined the way I want to live.

whole other story. Nevertheless, we faced the challenge and it felt amazing. The relief I felt diving into the icy water completely renewed my energies for the new year, even though I knew I had a long recovery journey ahead, jumping those waves pushed me to the right direction.

It all began when things were getting too overwhelming and I ran away to be with friends for New Years – following a Brazilian tradition, we jumped 7 waves. The thing is, jumping into the ocean during summer in Brazil isn’t too bad; jumping into the ocean during winter in England, is a

A few months later, I began feeling isolated from my family, as if they didn’t care about my struggles. However, when I reached out to my mother to tell her these feelings, she found time in her busy schedule and came to see me. Since moving to the UK, it’s been our tradition to go on walks (not really long we enjoy them) So, we thought we’d walk along the Jurassic coast and have our time to talk. 28

BA (Hons) Textiles

Between tears, angry remarks and laughter, we were taking in the incredible landscape that surrounded us. Moving away from Durdle Door towards Weymouth, we faced the rolling hills with eroded paths of previous amblers.

The walk was luckily empty which meant that we could talk freely, allowing us to release our bottled-up thoughts and emotions, which were captured and blown away by the wind. During the summer, I finally began to find a new normal until I decided it would be a good idea to return to Rio, a place I used to call my home, which I hadn’t returned to in 3 years. Fair to say, it wasn’t the best idea at that moment. When I left, I had this funny thought that

everything would remain the same and throughout the years I didn’t really give it much thought. As I was about to land, I hadn’t thought whether things had changed, or I had changed; would I even like it anymore? Suddenly what was going to be a relaxing trip down memory lane shifted to a sad realization that my home, as I had remembered; subconsciously relied on always being there, wasn’t the same. Friends had moved on; our home was rented out and people seemed different. It was a lot to take in, especially after the year I had. I felt disappointed in my naivety for believing that things stand still, and it took time to get used to the idea that home, as I knew it, doesn’t exist and hasn’t for a while. But, whilst floating in the ocean that I had swam in as little girl, I realized that that’s ok – that who I am today doesn’t associate Rio with being my home anymore. Instead I know I can go anywhere in the world, float in the water and be ok. Being in the sea is a reminder of the simplicity that life can be if you don’t get caught up in all the little things. It’s just you and the water; nothing else matters. Instagram: @anaclarkprints 29

The Deer

BA (Hons) Illustration

Madeleine Wythe A short comic entered for the narrative issue of BUMF inspired by the process of cleaning a deer skull which I found whilst on holiday this year. After finding the deer skull and a number of other bones I spent time researching into how best to ensure the bones were properly preserved and made some initial sketches of the skull in case I was not successful with preserving it. From this I created multiple illustrative outcomes including a comic, gif and stickers which can be found on my blog. Through this comic I intended


to record a illustrated glimpse into the reclaiming of bones by nature; I’d say there was a good amount of inspiration from Studio Ghibli’s Princess Mononoke for this part. I also included a currently popular aesthetic theme, a hanging succulent, to break the barrier between the boxes and the page. I originally intended this to creep further into the comic but after a few attempts I decided this distracted too much from the original imagery. Instagram: @maddie_ddie


BA (Hons) Illustration

Dan Lukosius

This is a short comic I made called blossom. It was inspired by a dream I had and is about questioning that experience, it’s relevance and meaning. Over the summer I have been researching dream interpretation, this inspired me to record my own dreams and in response to that I created this short narrative. My working

methods are influenced by a variety of creative people, such as Harmony Korine, Anders Nilsen and Nick Drnaso. They have encouraged my own venture into the medium of comics. Instagram: @twodimensionalillusions 31




BA (Hons) Illustration

Toby Fox Drew This project is made up of 18 illustrations divided into three series the Albinos, Nocturnals and Crimsons. I wanted to keep my execution simple with these paintings; the idea was to showcase the impossible creatures, so I favoured flat coloured backgrounds and realistic rendering. I like to think of all these creatures as wild in nature, as dangerous and noble as they are beautiful. Dancing alone, beneath the waves, the mermaid is rare to spot and

is elusive. It is a cruel irony that so few will ever see her performance. The phoenix’s (above) life is an isolated one, for the bird must give her life in an explosion of flame to hatch her young. They say to hear the Phoenix’s song is to know true loneliness. Beware the charms of the Harpy’s (right) song for their rapacious hunger is far more deadly than their music is sweet. Instagram: @tobyfoxart www.tobyfoxart.artstation.com 34


Who, What , Why, When of Success Sarah Gomes Munro Have you ever wondered what success is? You’re currently studying or working within a creative field and it can be a bit demotivating when you’re not feeling like the next Picasso. Peeping over the edge of education and seeing what often looks like a scary world on the other side is frightening but, my feeling is that success is different for every single person. If it could speak and wanted to tell its story well it would have to speak for a thousand years and then a thousand more just for us to begin to understand its scope. It all starts by understanding what success means for us personally. Stef Sword-Williams of the F*ck Being Humble movement says that for her it’s “as cheesy

as it sounds achieving my dreams” she understands that “people’s successes aren’t always driven by money and status, it’s the simple achievements like learning to drive, owning a house or even being able to spend time with your kids on an evening”. This means that if we can understand what gives us fulfilment, then we can work towards it and set those dreams within reach.

“Soak up everything you can and try not to let time pass you by” Kiki Ljung, an AUB Illustration graduate currently working as a freelance illustrator also stresses that success can change over the course of your life and that it doesn’t have to equate to “financial success or important sounding titles”. It is personal to you and what you want to achieve, whether this means sustaining a Hollywood lifestyle with a personal masseuse and jet or sharing a house with your mates and managing to pay your rent and your food with your creative outlet, just make sure it lets you go to sleep with a smile. Now that you know what you want your life to look like (simple when I put it like that right?) it’s time to consider how to get


BA (Hons) Illustration

Alice Pomfret, a Graphic Design AUB alumnus and previous editor of BUMF is now working full time in London in a magazine and launching her own soon. She explains that the hyper-competitive market was a real challenge in terms of securing a job so she chose a different route: “I went freelance after graduating. I wanted to take time to work on my portfolio and apply for the jobs I’d actually be

there. Setting achievable goals is a must, but don’t forget to challenge yourself as that is when you will grow the most and learn about your skill sets. There is a big market out there, lots of voices wanting to be heard but ultimately you must stay true to who you are and believe that what you have to say is important as well.

“Everyone’s creative voices develop differently and at different paces”

good at”. It is easy to think of others in your field as those that must be defeated but this is a creative community that you have joined, and communities can help you when you fall and work towards things greater than themselves. 37

you might not always know how to, that is why wonderful things like the F*ck Being Humble platform exist which can give you lots of tips on how to approach people and to have no shame in ‘being your own best hype man’. Your creative community, as mentioned above, is also a wonderful tool Within the creative industry we to have each other’s back, and this is something I urge you to cultivate from the start. We can make each other stronger; join our voices and speak louder or stand solo with your soliloquy, we’ll back you proudly. There is a big market out there, but this can also mean an almost incessant torrent of inspiration. How many times have you got lost on Instagram discovering new creative

who can keep you on your feet and gain the confidence you need to keep moving forward selling your wares. Let us spend a moment on a notion that I have noticed floating around, this of a graduate having an “expiry date” on their relevance. You get one year of being a graduate then there is a new lot, after a couple of years you are just one of many trying to get noticed.

thinkers? It doesn’t have to be an obstacle, it can be a stepping stone. Now it is time for you to speak up. Social media is a must these days as having an internet presence is the fastest way to get noticed. But speaking up isn’t always easy and 38

This I feel, is not true. You want to be a mover and shaker and the hottest shit to hit the industry since it started, you can move and you can shake all you want but bear in mind that reputations take time to build. Stef explains that “it takes experiences and overcoming challenges to build knowledge, so don’t let rumours of ‘expiry dates’ scare

I know there’s a lot of pressure for students to find work immediately after graduation, but the reality is that those two things aren’t necessarily correlated.” I hope, dear reader, that you are starting to understand that even though success varies from person to person there are a few constants in the plot: hard work, setting goals, dedication. One catch that there is no avoiding is luck, that’s up to the gods, just keep looking for and seizing opportunities when you can. Everything you need to write your own success is already within, you just need to figure out how to unlock it.

you, just work on your reputation at your own pace”. Alice took time to understand where she wanted to be once she had graduated and now she’s “in it for the long run, I’ve learnt so much in my current job, in terms of designing, producing and printing a magazine which is surely more valuable than a rabbit in headlights graduate?

“I wish I’d taken things seriously and seen the scope of my projects I was working on” Before I didn’t know what I could offer to a team, but now I do.” Kiki also understands that “University can be a wonderful experience but it doesn’t guarantee any kind of creative breakthrough.

The full interviews with these wonderful women can be found on the bumf website Instagram: @gomunro




Maurice Ravel: A Journey Through Life Andy Edwards In partnership with the Bournemouth Symphony Orchestra and AUB Illustration I created a narrative depicting the life of composer Maurice Ravel, with a limited colours the narrative takes us on a journey from the composers’ childhood wandering the streets of his rural town to his education in Paris. The process of colouring was all done digitally using the multiply technique which allows the work to be easily adapted for Riso printing. I started with rough layout sketches of each page to then redraw digitally. I researched how the size of the panel in a comic directly effects the sense of flow and time. I found it can add an interesting dynamic in the reading experience of the audience. Using this technique helps draw the reader in further. The context for the work shows the life and death of Ravel, the whole narrative is based on a hallucinogenic type of dream where you literally see the composers life flash through his eyes, symbolism of his surroundings as a young boy in his rural town with vast mountain ranges influencing and inspiring his music from a young age. His death symbolised through the record player he is pulled into at the start coming to an end. Instagram: @a.k.edwardsillustration 42 42

BA (Hons) Illustration


BH9 2QL Morven Shortt

This project was inspired by the boldness and expressiveness of Street Art. It adapts traditional crafts such as hand knit and latch hook. The aim was to challenge the belief that these skills are outdated and cannot be used to create something edgy and on trend. An intensity exists within any hand process, and this was expressed through the vibrant use of fringing and colour. Throughout the design and construction process and narrative began to develop, as a metaphor for my time on BA (Hons) Textiles Design. Since, I have spread my wings in 44

a sideways move to MA Fine Art. I have made this move as I wish to apply a more conceptual approach to my work. I work with thermochromics and smart materials. I found the methodology of defined colour palettes and predetermined designs within textiles too restrictive. The Fine Art MA gives me the opportunity to explore alternative possibilities for thermochromics and wool. I am a mature student, my children are grown up, and I feel that this is ‘my time’. I still have a great deal to explore and AUB allows the freedom to do that.

MA Fine Art

Instagram: @morventextiledesign 45


Black History Month

BA (Hons) Fine Art

Louise Hall Who Said it Was Simple Audre Lorde

There are so many roots to the tree of anger that sometimes the branches shatter before they bear. Sitting in Nedicks the women rally before they march discussing the problematic girls they hire to make them free. An almost white counterman passes a waiting brother to serve them first and the ladies neither notice nor reject the slighter pleasures of their slavery. But I who am bound by my mirror as well as my bed see causes in colour as well as sex and sit here wondering which me will survive all these liberations.

Audre Lorde (left) was a poet professor and a civil right activist. She was a selfdescribed as a black, lesbian, mother warrior. She tackled issues such as racism, sexism, classism, and homophobia.

“It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.” Lorde Marcus Garvey was a Jamaican activist. He founded the Pan-Africanism

movement which influenced the economic empowerment of black Africans.

“A people without the knowledge of their past history, origin and culture is like a tree without roots.” Garvey The portrait of Marcus Garvey features on the cover of this issue and was illustrated by Georgia Tunsei. Instagram: @louise_hall_art @georgia.tunesi 47

BUMF is recruiting... Could you fill one of these roles? Think you have a skill for a role which is not listed below? Have any questions or would just like to express a general interest about getting involved. Send us an email to hello@bumfmedia.co.uk. We’d love to hear from you!

Events Co-ordinator Responsible for organising gallery shows. Gallery Assistants We need extras to help exhibitors set up and transport work Photographers Document events and shoot editorial pieces. Talent Scouts Help us find new talent to feature. Writers We need writers to review shows and conduct interviews. Editorial Illustrators Working with our writers to produce stunning visuals alongside their content. Videographer Film launch events, conduct interviews and produce promotional content.

Remember we don’t just publish in print! Submissions are now open for the gallery and the website. All levels and courses are welcome to submit. Become a published creator by sending your work in now at www.bumfmedia.co.uk



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Issue 10  

This issue is based on theme of Narrative and features submissions from students of Arts University Bournemouth.

Issue 10  

This issue is based on theme of Narrative and features submissions from students of Arts University Bournemouth.

Profile for bumfmedia

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