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“What motivates you?� We always take a strong collaborative approach in our practice, both within our group and outside, our name 'Nous Vous' / 'We You' is as much a template for working as it is a moniker. Working alongside other practitioners is really a perfect symbiosis of our dream working method. There is a really exciting network of dialogues between people who we see as doing tremendously positive things in each of their fields. The chance to work with and form visuals through workshops is very rewarding, as we rarely get the chance to combine research so closely and consistently with the actual output. It is a perfect assimilation of all our interests, art, design, education and collaboration.


A true inspiration and one of Britain’s foremost graphic artists and an influential academic and writer whose paintings and drawings have celebrated and chronicled the worlds of street style and club culture. Wigan first gained attention in the mid 80s for his illustrations for iD magazine and the NME with career highlights including painting murals and exhibiting at London and New York’s Limelight Clubs at Andy Warhol’s suggestion (who described the work as ‘hot’). Many of his projects have taken place in Japan including the Mark Wigan merchandise shops throughout Japan. His inspirational publications ‘Basic Illustration’ series are generally available, and on the Illustration course reading list in UCLAN’s library.

LYDIA MONKS Interview by Andy Thomson

Do you keep a Daily routine? I have a very strict routine, but because Ive got 2 children my work day is limited, so i work on a Tuesday from about 10 - 4, and I work on a Wednesday from 10 - 2 and Friday 10 - 2. So it is really strict and I have no time for messing around, I literally get into the studio sit down and work like mad and then get up and leave so it’s quite full on work. So thats my weekly routine at the moment and there’s never enough time to fit all the work in, if i’m doing things like talks that gets fitted in in the evening, and I prepare for them in the evenings or weekends. So thats my vague routine. You mentioned in your talk that after graduation you went straight into editorial work. Did you ever supplement that with another job? No, I was very lucky and started working full time straight away. I was actually working full time straight from college. I haven’t stopped since. It’s not all luck though, it’s hard work too, I’ve been a bit of a maniac about getting work coming in , I’ve been quite pro-active with keeping it like that. Did you find it quite hard doing editorial work? It is quite a hard slog, You have to constantly remind people that you exist and keep advertising, keep going to see people, sending out cards, keep your website up to date. So the whole background to it is what’s hard the actual work is not hard at all apart from the tight deadlines being stressful, but it’s actually keeping the work coming in that is a full time occupation in itself. In relation to self motivation, do you do anything specific to keep yourself interested in the image making process? Well I suppose just writing new stories, I’m always interested in the new character and I enjoy making stories, so drawing pictures is my favourite thing to do, so I don’t struggle in relation to keeping motivated. I struggle with not having enough time to do all the ideas. I guess really it’s what I most look forward to in the week so I don’t need anything to keep me interested. Keeping motivated as well is about knowing that I’ve got to make money, which is quite a big motivation in itself. Do you set your own briefs outside of client work? Yeah of course, all the books are my own brief in a way so I’m constantly doing that and thinking what’s the next book? I’ll be working on one at the moment but I’ll be thinking whats the one after that. Is there another one in this series? So it’s constantly planning for the future and other projects I’d like to do. It’s quite a good point, about being an illustrator, you’ve got to be very forward thinking, you have to plan for the future and what you’d like to do next. What your ambitions are is important, to have

goals set for yourself so that you can aim to reach them. Do you have any particular goals that your aiming for at the moment? There are lots of thing I’d like, I would like to have the animation series, if one of those came up it’d be nice. Really just more books and better books, thing like that, just to keep going really would be nice. I think that you can never really have enough success, It’s not something you can have enough of, and I don’t think anyone believes they’ve reached the top . You are always striving for better and more. I still have ambitions… for world domination! What methods of self promotion do you use/ find to be most effective. The children’s book market is kind of advertising in itself, because obviously people buy the books and thats how I get most of my work, the publishers know me format he books, I haven’t had a website up to this point I’m just developing one at the moment and I feel a bit behind in that but hopefully haven’t needed one up to this point, and I probably don’t really need one now, but everyone has one now. Apart from that I don’t’ do anything else, in the old days I would send out postcards and new work, clips of new work but now being more established I don’t really have to do that. It’s very important though when you are just starting out, and it gives you nice projects to do too, you can set yourself a self initiated personal project and make it into little cards I used to do silly things like a card which you could stick your nose through it and it would make a funny face. You mentioned in your talk how quicker sketchbook work helped you to loosen up, how important are sketchbooks to you now? And what kind of work do you do in them? The sketchbooks I have now are really just full of writing, and little squiggles I don’t tend to do much drawing in them now, they tend to be just ideas books that I carry around with me. They are still very important in that way, I have friends who are illustrators who just draw constantly, on trains, just their surroundings but i’m not really like that, tend to just write down ideas a lot of the time. I have ideas books in my bag just to do little squiggles, otherwise I would just forget things. Also ideas that you write down that you might dismiss actually might become something in the long run so I think it’s good to write everything down or draw everything, you never know what might come of it. I noticed in pictures of your studio that there wasn’t a computer, I think that might be quite shocking for a lot of students and even a fair amount of people working in industry. Do you use computers at all in your working process? mails. I purposefully didn’t bring a computer to the studio because Id just find it too

distracting, I’d just be e-mailing people and looking on the internet, going on youtube and it would be too much of a distraction. So I purposefully didn’t bring one. I do use it a fair amount, scanning in, emailing, all the roughs are e-mailed these days even art work I e-mail so that clients can see how it’s going, and in that respect they are an invaluable resource, but I don’t use any software to create the pictures. I mentioned David Roberts in the talk as well, he doesn’t have a computer in his studio either. I think more people are making a conscious choice to take some time away from them because they can become a bit all-consuming. What inspires you? It’s just silly stuff in everyday life really, stuff around me that I might find funny, or I might suddenly think of thats funny. I like entertaining myself and making myself laugh so if one of the children does something funny, or if I see something in the street, it’s just that that’s inspiring. The nice bits in life I suppose. Telly, other peoples books, positive stuff. If there was one piece of advice you could pass on to a aspiring Illustration graduate aiming to work in the illustration profession what would it be? Work hard, I think it’s interesting coming in today and seeing all the students, I think I did work very hard as a student, but I think that it’s not easy and it’s not just going to happen unless you just slog your guts out and work hard - there are hundreds and hundreds of people who want to do it but only a few will actually stumble through and make it. It’s not just through talent, there are loads of talented people, but it’s the ones that work hard, who are persistent, motivated and hard working that will make it in the end. cram as much as you can into every day, just keep going. staying in bed isn’t all it’s cracked up to be. If you could share one truth about working as an illustrator what would it be? I can hear a lot of illustrators in my head saying “illustration is rubbish.” It’s just that it’s hard, you know. We all love making these beautiful pictures, but trying to sell it to someone is a bit like selling your soul! I think to bear that in mind i think you’ve always got to be happy with your own work and what your doing, get happiness from that it’s not all about the commissioned work. The commissions don’t always bring the happiness you are looking for, so think be true to yourself as well as doing commissioned stuff and try to find a balance between the two. We all strive to get work and commissions and actually a lot of the time the commissions are quite disappointing, so keeping that in mind and keep your own ideals going is good piece of advice.

ANDREW GRIFFIN Interview by Andy Thomson

Do you keep a daily routine? I never used to I used to work from home, it was all random, I used to spend most of the day procrastinating. I get a lot of my ideas generally late at night or right before bed and I used to have this thing about not wanting to miss out on them so I’d wait until everyone else went to bed, around 10-11 o’clock, and I started to think I wanted to work. So when I worked alone and was working from home then I used to do a lot of late nights so I’d work through the night and then sleep through the day and all this kind of weirdness. But now I’ve got a family and it’s very much structured, it’s very much that i go to work at 8:30 and come back at about 6:00 unless the works really heavy in which case I carry on working. But I always go in (to the studio) even when I’ve not got a job on for normal working hours, but then it always intrudes, I think if you are self employed or working for yourself in any way then it’s always going to bleed into your social life, it’s not a bad thing I really enjoy the work, I don’t have any hobbies, it is my hobby. And even when I chill out I watch films and stuff all with a view to feeding work. After Graduation, did you move straight into the work you wanted? Did you take time out or supplement it with any other work? I didn’t do what I wanted to do, I wanted to be an illustrator but I worked as a designer at a publishing house, but during that time I was commissioning illustrators and doing roughs for illustrators like layouts and stuff, so I was working as a draftsperson at least and working out what I wanted in terms of composing pictures even though ultimately I was commissioning somebody else. But then i got to a book where there wasn’t a style to suit the subject, so I commissioned myself basically, as it was a digital booklet i worked out a digital way of drawing, i was already doing roughs in Corel Draw because it was a lot quicker than drawing pictures, scanning them in and seeing if they fitted. So i started off using it for roughs and they got more and more intricate and I ended up using it for artwork and so we were after a digital artist and i was doing this stuff, on the back of that I left and just followed up the illustration side of things. I’ve never really done more than one discipline at once, now it’s strange because i might get an illustration commission or an animation commission, but initially it was all kind of linear. Design, commissioning illustration, and then moving into actually doing

illustrations. I never supplemented it with any kind of day job. I just persevered and tried to cut down on expenses by living at home or just eating beans. Most students I think are quite intimidated by the business side of things over creating the actual images. how was it for you? It varied really, I suppose it’s a lot of different things. The way I worked back then because it was all quite unstructured I think i enjoyed it in a creative sense and the fact that you could work when you wanted to, It wasn’t like you had to work 9 to 5. I’ve never worked 9 to 5 like in terms of being employed in a company I’ve always been full-time freelance. But sometimes, inspiration just doesn’t hit. If you are in a job 9 to 5 and you are sat there theres an awful lot of sort of emailing or chatting to people and if inspiration hits at midnight then you’re not in the office to actually see it through, so the good thing about working at home and it being all sort of muddy and all over the place was that essentially you’d work when you were ready, so you might think about it 9 to 5 and not actually physically do anything but then come six o clock seven o’clock when normally you’d have responsibilities or have your tea or whatever you can just kick in and do the job. I found it quite hard sometimes when you got briefed and you didn’t have time to have that contemplation or if there wasn’t the spark in the commission or the subject matter that you had to draw. Sometimes you just draw badly as well, the nature of only having to have a day turn over the job is not the issue, it’s purely the fact that you’re not in the mood to do it, and so you miss the mark. I found that consistency quite hard, just purely because sometimes you’d enjoy drawing, sometimes you wouldn’t. But i guess that would be the case in any career, unless your like a fine artist and generate the work yourself. There will always be stuff thats a little bit shit and stuff thats nice. but all of thats not really dictated by the industry, it’s not like i was ever frustrated about something to do with Illustration as an industry, it’s purely the compromise with working in something that is fundamentally being an artist, and a lot of that is to to with indulgence and having an ego and quite often when your working for a client they don’t really go together. Are you actively involved in any particular activities to keep yourself interested in imagemaking or creating moving image? Not really because i just think it comes naturally. I have a short attention span when it comes to the application of things, I got bored with children’s books for example because the gestation of them was too long at a year or so and your essentially only making 20 or so images so theres no need for that length of time, it’s just the nature of

the industry is quite slow. I also got frustrated with editorial purely because of the fact that they are giving you these things that can be hit or miss and you don’t click with, but you still have to do it. and also the fact that your restricted to a certain style because people don’t want it. I guess it’s just through jumping around that I keep interested, and I guess now I’ve probably gravitated more towards animation because what I’m now dealing with is the format of what you deliver rather than the style of it. Every single job that I do I can come up with a different style, it might be 2d, 3d, live action, collage, it could be anything you like. That is what keeps me interested, making bespoke things for the job. Which is exactly what it should be all the time. When i was working in music videos, I was going on blogs, looking at tons of videos, I often used to go on Motionographer and different blogs about commercials or animation etc. I actually try and avoid them now, purely because i don’t’ really aim to be trendy, it doesn’t particularly interest me, and lot of stuff thats churned around or goes on blogs is fashion based, I don’t literally mean fashion, but it’s motion graphics or it’s something where theres a hook. Theres an awful lot of things sold at the moment on the fact that it’s made in wool or it’s done for real in one camera shot, and it’s a novelty and a trick, and thats just the fad of the moment, people are more interested in the way that it’s done than anything else. It might look like a one shot video but as soon as people see theres a join they dismiss it and say it’s a fake. And i think it’s a funny little thing to get on because you can quite easily get wrapped up in that trying to think of a novel way of doing things when essentially you should be thinking about doing the best thing to answer whatever the brief is. So i get inspiration but I don’t look at illustration I don’t look at commercials or music videos actively for ideas. If anything I get inspiration from film, or from books or just life in general; something you find in the street, or something my kid says, or something I see in a film.When you get to the point where I’ve got, it’s like you’ve always got ideas that you’ve been mulling over and gestating, and I think some of those evolve through your work, some of them you never have the chance to see through to fruition, but they’ve been sort of bubbling away in your head, and I think that it’s almost like the older you get the less stuff you’d need to inspire you, because you’ve already sort of accumulated this stuff naturally over the years. If I draw on anything I suppose it’s my childhood rather than actively going out and examining contemporaries works. theres certain people like (Shynola?) who are like standard bearers, they’re good mates but they are fantastic and I’ll always look at their stuff. But theres a huge turnover in terms of fads and i’m not interested in trying to keep up basically.

Do you ever set your own personal briefs? Yes, it’s generally an outlet for something that i might not get a commission for. They are always quite indulgent, often i don’t see them through either. When i got frustrated about kids books, i ended up writing lots of kids books, I got lots of ideas and scribbles in sketchbooks that will never come to fruition purely because the industry frustrates me.There was one project where I actually took time out to make it and self fund it which was these little toy figures. I developed these characters and made them as toys, manufactured them, and animated them and all this kind of nonsense. It was an indulgence to try and combine like making a toy, then packaging it with designing the packaging bespoke, doing the print for the packaging, doing a postcard that goes in with the toy as a physical representation of that figure that you’ve designed and applying that to a postcard and doing a dvd that had animation and music i had written. It was a case of looking at all the different things I could do with character design, packaging, animation, illustration, music and all the things I work with in the industry and thinking how can I combine them? So that was like one little vanity project that cost quite a lot of money! Also you will never get commissioned for a music video unless you’ve got a music video, you never get commissioned for a commercial until you’ve done one, so to a certain degree of self indulgence can also serve your folio. Thats why I’m trying to get into film and I’m never going to get funding and iIm never gong to make one unless I start making shorts to prove you can do a narrative. So really it’s a means to an end, it’s partly frustration that you don’t get a commission to do these things, and secondly you have to do it in order to get commissioned for those things, theres no point in moaning how “I don’t get the cool jobs” you have to sit down and do the cool jobs to be able to warrant it. Aside from creating things to prove you can, as you’ve just spoken about, What other methods of self promotion do you use? which do you find most effective? Not much, I don’t really do it. I sent out a couple of leaflets when i started illustrating, literally two I think, and I took out a page in Contact. Other than that I think just web presence is the main thing, when I started Up The Resolution we just had a website and that was what we sent out to everybody and if people are interested then they’d email, and then we could send them a showreel. but no, never really done it. I mean even the personal project with the toys, i couldn’t be arsed to sell them when I had made them so i’ve got most of them in the attic! I think if theres any moment where there was a massive lull and it was like months on end I would probably make the effort to go round trying to get meetings or send our

reels or send out, just, something. I’ve just never had the downtime to do it and word of mouth has worked for me. Generally if you do a good job, and you endear yourself to people then it tends to just go from there.

case. So listen to everybody, but ignore them? .. I guess, I’m happy to spout whatever i think about anything to anyone, but at the same time it’s never said like ‘thats right’. It is in terms of me, but thats just my perception of something.

How important are sketchbooks to you? do you keep them at all? Yeah, more ideas books than sketchbooks, I try to keep sketchbooks but it doesn’t come naturally, I don’t particularly like my own drawing and I think Ive always tried to hide behind stuff, it wasn’t initially conscious but I realised after a couple of years that I don’t particularly like the way I draw, I think I can draw well, but I don’t like what it looks like, I don’t find it particularly interesting as a way of drawing. So when i started drawing with a mouse there was initially something between me and the drawing which was slightly disabling, it was almost like hobbling yourself, and because of it i had to think twice as much about what i was drawing and you could take it and move it around in a way that you couldn’t do with your normal drawing and it was sort of slightly removing myself.

I was sat earlier talking to this guy and he was coming out with all these ideas for a brief and i immediately started buzzing off the brief and coming up with ideas that I thought I would do, and i’m slightly reticent to tell him not because i think i don’t want to give my ideas away, or because he doesn’t deserve them, but just because he wouldn’t interpret them necessarily in the right way, or it might make things worse in that in giving him something, so then he’s got a double brief because he’s been given somebody else’s ideas. Sometimes you just need to nurture, meaning the person already has that idea in them and it’s just a case of having the confidence to bring it out and thats really what college should teach you. Really it’s just giving you the time to discover what you do. and it’s giving you three years or whatever it is to keep going over the same ideas or to refine something, before you get out into the real world. It’s not to train you really, it’s to give you the opportunity to flourish. everything i’ve learned is different to what anyone else has learned. it has to come from you. you can’t fake being interested in something. Even if you sit down and copy something, you can never copy something exactly it will always end up as your work because it’s got to come from you. I think thats what might be missing in a lot of students is confidence

Thinking back on it in college i was doing collage, using objects and thats very much where i come from, I might crib the way a hands drawn off an old 50’s advert or i might use a face that i drew quite well accidentally then just reuse it and reuse it, and it almost became like a collage anyway, and then what i do now in animation is using a 3d model that someone else might have made or manipulating a bit of footage that we’ve already filmed and it’s very much something to do with taking something and fixing it that i quite like, by fixing that could be applying it to something else or making it into something worthwhile but thats just the way i’m inclined to think . I’m not the sort of person who would sit down and draw a whole picture, i’d far rather do that as a sketch and then find objects or pilfer things. That gives a certain room for excitement about what your producing, if you draw, certainly if you draw quite well then you draw exactly what you want and it can be not very interesting. What i quite like is the whole hit and miss thing drawing with a mouse you can’t quite get the line you want and sometimes thats a good thing. Like with taking photographs I never knew anything about lighting or exposure so i’d take 80 photos and one would be right, i’d never know why but it’s the excitement of leafing through them and finding one thats good, it’s like “fucking hell!” If you could pass on one piece of advice to an Illustration Graduate, aiming to work anywhere in the creative industry what would it be? I don’t know without coming out with clichés you know? The classic i guess is ‘know your own mind’ but I think theres a perception of a student is that you are a sponge, and that you need to be told what to do, and that isn’t the

Finally, if you could truth about working an an illustrator what would it be? That you are providing a service and to remember that. They are coming to you for something that they cannot do themselves. It’s not a chance for you to indulge yourself but similarly it’s something that the person whose commissioning you cannot get anywhere else. It’s quite a big deal for some people to get their heads around sometimes. They are coming to you with money, a commission and they know what they want and it’s not really for you to argue with that. obviously if you strongly disagree with something then stand up for yourself, If you want to do your own work thats just you then thats your personal work, it’s a commercial job you are a commercial artist and those are often quite conflicting things it terms of peoples egos. Illustration, because of that, is often looked down on by fine art because it’s not fully self expressive, but at the same time I think it’s quite a big deal to be able to express yourself through someone else’s brief. it’s very easy to be self indulgent but can be quite hard to follow someone else’s brief. You are at the whim of somebody else, but they want you, so have some faith in yourself.

GEMMA CORRELL Interview by Andy Thomson

Do you keep a daily routine, if yes, how strictly do you follow it? I do try to keep one, but it doesn’t always work that way, I find it really hard to be creative when i feel like I have to. I work best in the evenings so I tend to do the same kind of thing every day, in the morning I do all the admin stuff all the e-mails and post office stuff and start working in the afternoon and evening. If I have a day where that’s not working I will just give up or do something like making cards or something like that. Have you ever supplemented income from working as an illustrator with any other work? Yes, I had a part time job while i was at college so i carried on doing that for about a year. That was in Topshop. After that i was a teaching assistant, working one on one with a kid who had special needs but that was a lot more hours and also a lot more work, it was the kind of job that you had to be 100% dedicated, whereas at Topshop I couldn’t really care less about whether they sold shoes. So overall it was 3 years in total that i worked part time and then I managed to have enough money to go freelance. What part of illustration do you find the hardest? The business side of things, the accounting. It’s just something that you have to do, even though you feel that you’re an illustrator and so shouldn’t have to. But if you don’t it can get on top of you and it’s gets to January when you have to fill in tax returns and you have boxes of receipts that you can’t fit all together. That happened to me this year. I find it hard to discipline myself to do it and i’m useless at doing it and just don’t’ want to. Now that you are with NB Illustration agency, do they handle some of that side of that? Only with the jobs that I do through them and I still have to file them myself. Do you actively involve in any activities to keep yourself interested in the image making and creatIve process. I use the internet and look at various blogs, not necessarily just illustration but design, architecture, anything inspirational. I try and get out and go to exhibitions and fairs as much as possible. Apart from that that I go to a lot of charity shops and car boot sales and look at vintage books and posters. I don’t’ really ever do anything that isn’t in some way involved with illustration apart from yoga, which i have drawn as well. It’s quite hard to draw yoga poses. Do you set your own personal briefs or does the free work you undertake serve as a replacement for that?

I do about 50-50 Personal work and paid client work, but with personal work you are free to do what you want. I don’t necessarily have briefs for it but if I have and idea I’ll get it down on paper and I’ll then expand on it but I think doing the free work for zines and things gives you at least a vague brief that helps you stay on the right track. If you do entirely personal work with no brief you get can get a bit lost I think. It’s hard when you leave college and you don’t have briefs, you have to be quite self critical. I’m lucky because my boyfriend is an Illustrator working from home and i’ve got a dog so i’m not totally alone. What methods of self promotion do you use. And what do you find to be most effective. I make postcards. Thats the simple and easy thing to do and I think they are still quite effective as they don’t have to be opened. Art directors can look at them and if they don’t like it chuck it in the recycling. I also do a lot with the internet. I always try to get stuff on blogs, i use twitter, flickr, facebook, society 6 etc. and then I try to follow up on any interest from postcards etc, sending out e-mails. and then selling stuff in shops as well. How important are sketchbooks to you? Very Important, I do the majority of my work in them. even if something ends up on a separate piece of paper, it was probablyin a sketchbook to start off with. I love sketchbooks and i’ve always used them, a lot of work that’s in a sketchbook or that’s rough ends up being a final piece or part of a final piece. What inspires you? General things around me generally. Watching people, animals, overhearing conversations, travelling, vintage children’s annuals, screen printed posters. Things i’ve eaten, things i’ve drunk, other artists … Sunshine. If you could pass on one piece of advice to an illustration graduate aiming to work freelance what would it be? Persistence. Keep going despite any financial difficulty. Remember that it takes a while, your not going to get instant results. If you could share one truth about working as an illustrator, what would it be? It’s not all fun. In college to an extent you can choose what you do, when you’re working you have to do work you don’t necessarily want to or don’t particularly like. But you could be surprised. It’s unpredictable.

MEET FOLK & DO STUFF March 2010 NOUS VOUS - Nicholas Burrows, Will Edmonds, and Jay Cover are a Leeds based design collective who since graduating in 2005 have garnered critical praise and press for their text-image design work. They spoke about their working process, the range of commercial projects they have undertaken and their upcoming shows at Harewood House in Leeds, and Somerset House in London. They led a workshop to design motivational posters. MARK WIGAN - is a pioneer of dance influenced art and design. Author of the AVA Basic Illustration series of text books, and experienced illustration lecturer, Mark spoke about the importance of self promotion to illustrators, showed his own artwork. He led a workshop to design self promotional materials. LYDIA MONKS - is an experienced and popular children’s illustrator after leaving college, Lydia worked for many different newspapers and magazines, including The Times, The Evening Standard and Just 17. I Wish I Were a Dog, won the Bronze Smarties Prize in 1999. Since then, she has worked on over forty children’s books: some of her own and some by other people, including Roger McGough, Carol Ann Duffy and Julia Donaldson. Lydia spoke about what led her to children’s illustration, and the importance of drawing. In the past Lydia has also acted as a Macmillan Children’s Book Illustration Prize judge as many students were undertaking the competition at the time of her visit she gave insightful personal tutorials to children’s illustration hopefuls. ANDREW GRIFFIN - studied graphic design at Newcastle, illustrated children’s books that became an animated series made by Disney. This led him into commercial animation for companies like Burberry, Seat, etc. And finally into film making where he has been reponsible for directing live action music videos for Cinematic Orchestra and The Automatic. Griff led a highly personal tour through his illustration portfolio giving an insight into the industry process, and looked through portfolios. GEMMA CORRELL - is one of the new breed of illustrators whose work is profilerated by the internet. A recent graduate of Norwich School of Art Gemma publicises and sells work via Etsy, Flckr, Facebook, as well as her own website, and via artists book fairs and other small arts and crafts outlets. She spoke to us about her unconventional illustrative practice, her recent visit to the USA where her quirky and funny applied artwork is gaining popular appeal.

On the Illustration programme at UCLAN we believe it is incredibly important for students to engage with the creative community. One way in which we engage people with the industry is to get them and to come and meet practitioners, and to discuss their working philosophy and process with them, possibly even to work with them. Seeing the quality and range of work produced in the professional context is hugely inspiring and encouraging. Therefore throughout March 2010 BA(Hons) Illustration invited a broad range of visiting practitioners to talk to students, and interested members of the public about their work. They engaged not only in the lecture programme but also in practical workshops, portfolio surgeries, and specialist one to one tuition. I know the students from the illustration programme find these visiting speakers hugely enjoyable and informative.We hope that those people from outside the programme found them stimulating too. Steve Wilkin BA (Hons) Illustration I UCLAN I Preston I March 2010

Meet Folk  

A record of visiting illustrators who visited Preston's illustration degree course last year, including Nous Vous and Mark Wigan plus Interv...