Illustration at UCA 2016 1
03 : Introduction 04 : BA Illustration 06 : Student Work
48 : Documentary 52 : 2016: Lisbon Trip 56 : Lion and Lamb Press 58 : Collaborative Projects 60 : Illustration Society
62 : Secrets and Lies 66 : Contemporary Craft 70 : Busk in London 72 : MA Illustration
74 : What do our students think? 76 : Contact Details 80 : Colophon
Liyu Xue 2
The Illustration graduate show features work created using a variety of media and processes, from drawing, printmaking, embroidery, 3D, moving image, collage, painting, digital drawing, book arts and risograph printing. What connects the work is an underlying strength in visual narrative, social documentary and storytelling. Much of the work this year is concerned with current social issues facing society, in particular the young. The real strengths of the work are in the messages they communicate about our contemporary culture and not the aesthetics or medium in which they do this. Good illustration is defined by its message, and not by its medium. The title of the publication this year reflects the space which the students have inhabited for the last year. It communicates a sense of community and place, which has been so important in this last year of their creative journey as undergraduate students. They have valued having a dedicated studio space in which they have worked together as a creative community alongside the MA students. But what lies ahead for them in their continuing creative journey? They will need to be determined, but never has the range of opportunities and contexts for production of Illustration been as wide and exciting as in recent years. The traditional illustrative processes of drawing, printmaking, painting and
bookbinding complement and merge with new processes enabled by new media. Illustrators produce work for production in the traditional terrain of print, in publishing, editorial, packaging and design, as well as new areas such as online publishing, illustrated digital applications, surface pattern design, games and exhibition design, television and product merchandising. The new illustrator needs to be adaptable, flexible and entrepreneurial in order to respond to the rapidly changing nature and opportunities, which our visual culture demands, but also to explore and create new contexts for illustration in the future. As illustrators they also have many transferable skills, which are in demand with employers outside of the creative industries. They are excellent researchers, entrepreneurs, communicators, team players, problem solvers, project managers, visual and critical thinkers as well as being sensitive to their surroundings and those they work with. These are exciting and challenging times for our graduates to be launching their careers. We would like to congratulate them on their success on the course and wish them luck in their future creative careers. Be proud to be an illustrator and remember its about the message, not the medium! Jane Cradock-Watson Course Leader BA & MA Illustration 3
UCAâ€™s specialist Illustration course, based at the Farnham campus, has a strong reputation for visual narrative and storytelling, underpinned by an understanding that the best illustrations are based on exciting, original ideas. The course offers students a real emphasis on visual experimentation, investigation and innovation, supported by the development of strong idea development, drawing and storytelling skills. Based in studios packed with industry standard resources, students have access to an extensive range of facilities on campus for printmaking, book production, animation, Mac suites, digital printing, 3D workshops, textiles, photography and moving image. The course is ideally suited to students who want to develop a strong, individual style and explore the relationship between illustration and the wider socio-political and cultural contexts of contemporary life. Illustrators have a unique way of seeing the world, then interpreting and communicating this visually to a wider audience - harnessing both the traditional techniques of drawing, printmaking, painting and bookmaking, as well as new processes and media, such as digital drawing and illustration, digital photography, online publishing and interactive illustration. 4
Students investigate ideas through drawing, text and image, sequential narrative, book production, animation, printmaking and creative writing, and have the opportunity to explore a diverse range of media, processes and techniques that reflects the evolving nature of contemporary illustration. The course curriculum and delivery reflects recent trends in the creative industries for illustrators to be collaborative and flexible, initiating new opportunities for shared and individual work. Students are taught largely through studio-based projects and workshops, supported by regular tutorials and group reviews - thereâ€™s also a lively programme of visiting speakers, practical skills-based workshops, pop up exhibitions and external visits.
Dongqing Hu 8
Naomi Geeves 10
Francesca Jefferys 11
Elizabeth Smallwood 12
Carly Davies 13
Aino Lius 14
Dom Rhead 15
Julia Coyne 17
Lucy Richards 18
Ciaran McGuinness 19
Eni Ilori 20
Ozgen Osman 21
Bronwyn Garfith 22
Emma Charnley 23
Hannah Marno 24
Zoe Murphy 25
Monia Lai 26
Pippa Dew 27
Naba Rai 28
Natalie White 30
Ben Williams-Gray 31
Rosie Spooner 32
Eugenia Nelson 33
Emily Skee 34
Katy Robinson 35
Jacob Holland 36
Liyu Xue 37
Sam Selley 38
Ruth Young 40
Stephen Kingsbury 42
Shakira Levine 43
Samyang Chemjong 45
Carly Davies 46
Liyu Xue Illustration fundamentally functions as a nexus for information and knowledge exchange. No matter how we consider or attempt to place illustration within the broad parameters of visual culture, its origins lie deep within our desire and need for visual communication. The visual has consistently been employed to facilitate the documenting of the visual / physical world as evidenced in Galileo Galileiâ€™s observations of the moon. The documentary nature of these images act as illustrations, but they perhaps offer more than just a record of what was seen. These illustrations draw the viewer into a discourse around the documentary process, perception and memory of Galileo, one that highlights the significance of what he perceived and the struggle to transcribe the totality of what was seen. Illustrated news by nature for many centuries was a post-event often temporally and geographically distant from the event. Images that appeared in papers such as the Illustrated London News were visual 48
reconstructions, manifestations of the illustrators cognitive response to the journalistic text. This visual re-enactment in part reflects later documentary practices in documentary animation traditions. (Ward 2006) Despite the demise of the illustrated newspapers such reconstructive practices within illustration has not disappeared. Both Robert Weaver and Olivier Kugler make the viewer aware of the artifice of the image in relation to its post-event and post-production construction they disrupt and break any sense of linear time. As Paul Hogarth (1986) indirectly highlights the diverse forms of art may act as historical documents, artefacts that capture and hold within their narrative matrix traces of historical knowledge. As such these paintings, drawings, prints etc. offer a historiographical understanding of the past that reaches further than the restrictive boundaries of their frames. They become multi-dimensional visual discourses that transverse space and time.
Ciaran McGuinness Illustrative reportage/documentary practice is a process of forgetting and remembering that is revealed to the viewer/reader through a process of repetitive reconstruction. That shifts and slides between the spatial and temporality of any sense of fixed memory and experience in relation to collective memory. (Sontag 2003) In turn documentary illustration subverts the cold deathliness of the photographic image that hunted Roland Barthes (1981). For as Zelizer and Tenenboim-Weinblatt have argued journalistic practices draw upon and are often dependent on the “mnemonic power of images” (2014:8) The historical use of images, in particular illustrated in newspapers raises the status of the image as a mnemonic device. Thereby highlighting the act of observational drawing as an active process of forgetting and remembering in which “one detail” can function as a memory. (De Certeau 1984: 89) For the artist/ illustrator is unable to fully transcribe, what they see or experience in part memory is a process of forgetting.
Carly Davies For mnemonic memory of everything is overwhelming it is partly this act of forgetting that is evident in the incompleteness of the image. In turn the form and materiality of the autographic mark denotes the spatial and temporal presence of the illustrator within the event. The ephemeral nature of the image and reproduction is equally part of the knowledge exchange that evokes and weaves into the discourse of the documentary/reportage narrative. The impermanence of the illustrated artefact liberates its status as object for as Adrian Forty argues â€œobjects are the enemy of memory, they are what tie it down and lead to forgetfulness.â€? (1999:7) In part the physical and material forms of illustration offers the viewer/ reader a much richer experience than photographic, filmic and digital media. What illustration presents is a residue, traces of the material culture, from which the subject is constructed. Each illustrated artefact embodies an aura that transverses historical periodisation. To cite Walter Benjamin (1992) itâ€™s aura, breaks and disrupts each form of mechanical
reproduction. In an age of digital technology and mass communication illustrative documentary/reportage continues to be relevant and significant, highlighting the hidden and giving a voice to the forgotten. References Barthes, Roland (1981 rp 1993) Camera Lucida London: Vintage
Benjamin, Walter, (1992) The Work of Art in the Age of Mechanical Reproduction Illuminations London: Fontana De Certeau (1984) The Practice of Everyday Life Berkeley: University of Califormia Press Forty, Adrian, Kuchler, Susanne (eds.) (1999) The Art of Forgetting Oxford: Berg Hogarth, Paul (1986) Artists as reporters London; Gordon Fraser Sontag, Susan (2003) Regarding the Pain of Others London: Penguin Ward, Paul (2006) Documentary: The Margins of Reality London: Wallflower Press Zelizer, Barbie and Tenenboim-Weinblatt, Keren eds. (2014) Journalism and Menory London: Palgrave Macmillan James Walker Senior Lecturer BA Illustration 51
Lots of research went into this trip to Lisbon, but nothing suggested the extreme topography, and the need for ropes to scale streets. The Lisbon Chillout Hostel lived up to its name but was at the highest point of the city. Fine, when heading off in the morning, but a different story when returning in the evening. The hostel was a beautiful old classic Lisbon building, with contemporary touches on the inside. This modern approach extended to the bathroom facilities, which took no account of our modesty. Students took to guarding the door while their friends showered, or rose at 5.00 am, cleaning their teeth in the dark, then returning to bed. We had a great time. Visits to the LX Factory, the Sao Jorge Castle, Sintra and Cascais. A boat trip to Cacilhas had us hiking along a graffiti strewn peninsula to reveal the Ponto Final restaurant, striking in yellow, risen up from the sea. Here we enjoyed
more versions of Portugals favourite menus. Salt cod and potatoes, Grilled meat and potatoes, fried fish and potatoes. Oh, and beans and rice. We began to look like potatoes. The flea-market provided good research material and photographs of angry stall holders. This was dangerous business. The mixed group of first, second and third years, even a couple of year zero students, walked like transport hadn’t been invented yet. Some ventured into taxis run by old Portuguese men who had never heard of the “Chillout” Hostel and kept going to the hospital. Or Tuc-Tucs run by students who knew exactly where it was, re-aligning your internal organs on the cobbled streets. Successful drawings, with students engaging very happily with the environment. Some of which you see here. Lots of selfies with old couples running cafes, a famous food blogger and a martial arts champion. Full of the famous Pastas de Nata, custard tarts, we headed back home to have surgery on our knees and avoid potatoes. We arrived home late and as I saw the students off and waited in the cold for my taxi I thought ‘Where can I get some salt cod?’. Robin Chevalier Senior Lecturer BA Illustration
4am, standing by a coach waiting for students to arrive, the inevitable forgotten passport, collected hastily from around the corner. Then Heathrow bound with an elderly driver, taking caution to new levels in the dark. The other half of the group, were flying from Gatwick, at a gentler hour. We glide slowly to the airport, missing our turning and circle like a plane coming in to land, eventually pulling up and piling out.
Jasmine Tutton 53
Nayuma Rai 54
Aino Lius 55
Lion & Lamb: 2016
This year has so far seen the production of two new Lion and Lamb publications, ‘Blip’ a collaborative risograph printed zine made by a group of third year students, and ‘Return to Sender’ another collaborative publication by the MA students. The Lion and Lamb Press also made its first appearance at an international book fair, “PAGES’ the Leeds International Contemporary Artists Book Fair at the Tetley in Leeds. A group of MA students were tasked with organising and managing the stand at the fair, promoting the work of illustration at UCA Farnham. This was a challenging and exiting experience for them, especially for our international students. Needless to say they made the most of a visit to Leeds, visiting galleries and museums as well as talking to visitors and buyers about their work and selling books. The Lion & Lamb Press was launched by the Illustration course in 2012, as a publishing venture to support interesting projects from current students, recent graduates and staff alike. The press encourages experimentation as well as collaboration between individuals, other courses and small presses in the UK and abroad.
Francesca Jefferys & Pippa Dew
Work of MA students 57
So far we’ve had a fantastic range of external partners, allowing the students to choose the areas they could work with. One of the collaborative projects was in partnership with the Farnham museum, inviting students to work with its rich archives and photographic collection, focusing on Farnham’s hop heritage. The students worked with photographs, drawings, artefacts, film and oral histories to develop visual documentaries, which resulted in an exhibition at Farnham museum. We were also very pleased to work with the independent publishing house FarFaraway books and Ambit magazine, who invited the students to respond to fiction. FFA books put particular emphasis on treating the text in children’s books as a visual voice. The illustrators were challenged to think of the text as part of the image making and treat the book itself as the art form.
Thomas Hampton with Brighton and Sussex University Hospitals NHS Trust worked with the MA students on “A Logo Saves a Thousand Words”, a quality improvement Project for Patient Safety. The brief invited students to challenge the need for detailed written information on medical packaging and work visually to communicate information in a short amount of time and limited space. The project won the Association of Otolaryngologists trainee prize at the Association of Surgeons in Training Annual Conference in Liverpool March 18-20th 2016.
Tom Hampton & Meng Yun Chuang
This year the course introduced a much more prominent collaborative element in its curriculum, exploring some of the different roles and areas of illustration through live briefs and collaborations with external partners. The purpose of these more outward facing briefs is to encourage the development of ideas through discussions with commissioners, clients and partners and give the students the confidence to present their work outside of the university environment.
Liyu Xue - Farnham museum
Ruth Young - FarFaraway books
Hannah Cooper - Ambit Magazine 59
This year, second and third year Illustration students founded the UCA Illustration Society, a society intended to promote illustration and encourage other university students to create visual work traditionally considered outside of their different course disciplines. This was done using various platforms – running illustration workshops which culminated in the creation of a zine called I Don’t Have Time For This; hosting events such as the very successful Drink and Draw; and collaborating with other societies to create UCA’s very first convention, MagiCon. To date, the UCA Illustration Society has been the most successful society event organiser, with members using skills they have gained throughout their studies to welcome, promote, and collaborate with other students
and staff. This has led to a close working relationship with the Student’s Union, who are keen to host the society’s events, and allowed the society to sponsor the Union’s chalkboard; a wall dedicated to students to doodle, create, and encourage others to release their illustrative potential, and nominations for Society of the Year, New Society of the Year, and Event of the Year at the Annual Student’s Union Clubs and Societies Awards Ceremony. The success of the society throughout the year demonstrates the dedication and professionalism of the students that run it, and the only direction it can go is up. Here’s looking forward to seeing what the society can dream up next year! Ciaran McGuinness Society Chairperson (BA year 3)
As second year students on the Illustration BA at UCA Farnham we had the opportunity to hold an exhibition of our work based on an agreed theme, we chose Secrets & Lies. Each of us approached creating work for the exhibition in our own unique way (we’re all encouraged to develop our own way of working, rather than having a ‘house style’, which is one of the huge benefits of this course). We had a vast range of work from zines to posters, animation, and 3D. Not only did we create work for the exhibition, we were also tasked with managing the entire exhibition, which included finding the venue, fundraising, promoting, curating and installing the exhibition. The venue was a pub in Farnham, ‘The Plough’.
The eclectic feel of the pub really suited the variety of the work we produced. One of the upsides was definitely being able to have a pint at the end of the day! It was a challenge to learn how to work together within our smaller teams and as a larger group. Relationship building with Simon, the manager of The Plough was also a bonus and a great way to learn about how to build professional relationships and build communication skills to assist us in our future careers. Given that this was our first experience of mounting an exhibition we found that much of our learning was ‘on the job’. While there are definitely things that we would
“All of the various areas of the pub created a sense of discovery – like a treasure hunt – and the vibe was amazing!” Daniel Redhead
Ashley Potter consider and perhaps do differently in future, we have really gained some valuable skills both practically in terms of how to hang work but also cognitively with regard to learning how to think about curating and how work communicates within a space.
Overall, we played a ‘blinder’ and had a really successful exhibition. One of the things I loved about the exhibition was that we were able to take art to people, so those who wouldn’t normally go to a gallery got to experience art, and in particular, illustration, in a relaxed and inviting environment – can’t get more relaxed than a pub! Allison Inwards (BA year 2)
“A first step on the road to becoming a professional illustrator and an opportunity to sell our work and be seen” Lucy Waldman
“The atmosphere of the pub and social aspect of the environment really complemented our work” Elise Gannon
The ‘How-To’ culture that exists in contemporary craft today is prevalent in many forms. Often practiced by hobbyists examples can be readily found within social media from YouTube videos to Pinterest pin boards which prompts the question, is ‘How-To’ craft detrimental towards craft, or is it positive in making craft more accessible to all? Craftspeople are often seen as wanting to distance themselves from hobbyists, as generalisations of the discipline as amateurish can invalidate and somehow diminish their craftsmanship. Nevertheless there is a growing appetite for a crafting lifestyle in which it is possible for anyone to participate, in a leisurely and comfortable way without much effort. This is often confirmed by how craft objects are sold via the Internet allowing for a wide reaching marketplace. Online retailers such as Etsy work in favour of craftspeople, but also against them, because there is more competition with regards to quality, aesthetics and prices. When discussing craft it is important to refer back to the Arts and Crafts movement founded by William Morris
and John Ruskin. Morris’ philosophy of craft was to go against the industrialisation of society and look back to a simpler way of living, a culture where everyone’s personal environments were equal. These ideas still resonate, although its failings are also clear; whilst intended to be accessible to all, only those who had wealth were able to participate within the movement. This is true today as those with wealth are often the ones who are able to own crafted objects, or are able to create their own. The sense of an idealistic lifestyle can seen within the How-To culture of contemporary craft in the desire, through practicing craft, to be part of something that is idealistically set in the past. As technology has a larger impact on our lives there is still a desire to revert back to a simpler
Year 2 & MA students 66
Lucy Waldman 67
Lucy Waldman 68
way of living, and to get away from the stresses of a busy modern life. However those able to participate in craft are normally from financially comfortable backgrounds, this is an important consideration as the Arts and Crafts movement was about accessibility of craft for all, and championing and celebrating craftspeople. “Marvelling over the intricately detailed objects, a husband remarked to his wife, ‘god, these things are beautiful. I just don’t know where these people get the time to make them.’ And his wife said,’ Well they don’t work.’ That’s the kind of situation that exists” (Flanders 1981:93) An anecdotal comment from John Flanders in his book The Craftsman’s Way regarding an overheard conversation is insightful in shedding light on misconceptions of the craftsperson. This observation shows a lack of awareness and value of the practice of the craftsperson. This misconception is also compounded by many craft manuals alluding to the fact that those with the spare time can be involved in producing creative works reminiscent of a craft. Many of these manuals follow a basic ‘How-To’ formula offering instructions on how to make an object look more ‘vintage’ or to make objects that exist without function.
While the ‘How-To’ culture might not be entirely detrimental particularly when exploring new processes and different uses of materials, for example, the re-purposing of recycled items, the removal of craft from the craftsman can devalue and undermine the historical context and specialist skill of the practitioner. However, as social trends change, craft must keep pace and the ‘How- To‘ culture is an example of the contemporary use of craft in a wider public view. To some the traditional values of skill and patience and time needed to acquire and develop this ability is no longer needed. There are many questions to be asked about how craft exists in our modern world, and what it means to be a contemporary craftsperson. The ‘How-To’ culture is a useful indication of how craft is evolving, for better or for worse. Francesca Jefferys (BA Year 3)
Back in 2008, sometime around May or June, I visited London for the first time. It was everything I expected – Georgian houses, sky scrapers, all those famous bridges, Piccadilly Circus... What I didn’t enjoy much was the travelling through the underground. It was claustrophobic. Also this thought that we were crawling underneath the surface of the earth, like insects. But every time I’d hear a pleasant sound coming from a distance that pleased me and eased my journey. It was also my first time experiencing the busking culture and, for me, London wouldn’t be the same without it.
My book started with this fascination I had about busking. I wanted to understand what it would be to live as a busker? Whether it was sustainable? I read and heard stories about how buskers without much in their pocket just busk and make enough money while they travel. The whole idea and aspect of it fascinated me. During the process of making the book I understood people busk for various reasons; some enjoyed it altogether, some as artists who wanted a platform to perform, some did it to promote themselves, some for the experience and some just for trying to make decent and honest money. My fascination and curiosity initiated the project...hence the book. Naba Kiran Rai (BA Year 3)
The MA Illustration course offers students the chance to challenge the boundaries of illustration, both in its practice and its context. Contemporary Illustration practice has grown to encompass a broad range of ambitions and opportunities for the image makers and story tellers. The growth of online digital cultures and the impact of digital image making on traditional image making requires flexible and adaptable practitioners as well as providing unique opportunities for the entrepreneurial illustrator. This course is primarily concerned with the illustrated narrative and offers a creative and intellectual environment in which you can rigorously pursue a project of self-directed study. It also promotes in-depth rigorously conducted research to ensure that students are able to contextualise their own work in relation to the leading edge practice in Illustration In recent years Illustration is increasingly seen in many different contexts in contemporary visual culture, including Illustration for publishing, book illustration, book arts, comic strip, graphic novels and moving image. Illustration at UCA has a long tradition of original narrative and storytelling through images, reflecting staff expertise and practice in these areas. Students will explore narrative storytelling, authorship, self publishing, book production and visual narratives through the 72
development of a personal project. The MA course supports students to develop their own independent voice and are encouraged to take a self directed entrepreneurial approach, to develop and explore creative opportunities and options for their work. This entrepreneurial emphasis is supported by access to specialist facilities such as digital media suites, photography, printmaking and bookmaking. Collaborating with others is a distinctive feature of the course. This year in addition to their individual collaborative projects, they have been involved in two new and exiting external collaborative projects as a group. Producing a collaborative publication and managing the Illustration departments table at the Leeds International and Contemporary Book Fair at the Tetley Brewery in Leeds, as well as working with a local surgeon and his colleagues on an external research project. The MA Illustration course provides students with the opportunity for extended critical debate, a high degree of critical reflection and integration of theoretical and practical concerns as part of the realisation of an ambitious body of work. The diversity of practice in illustration can be seen in the variety of work which the students have produced this year, which has included ceramics, letterpress, 3D models and installation pieces.
Sara Huang 73
We asked our students what the most important thing was that they had learned from the course and what was their most memorable moment ….below is a selection of the responses:
” I think the most important thing I ” Most important things learned? have learned from the course, strange Quality not quantity, always write as it sounds, is self confidence which down ideas, draw no matter what has come from meeting a variety of time, day or night. Stay Calm.” different people, doing things outside Katy Robinson my comfort zone. I feel I have grown as a person.” Elizabeth Smallwood “ Most important things learnt? Be critical and patient, don’t be a perfectionist, bear deadlines in “ I have gained a lot of experience mind, work hard and enjoy!” as an illustrator and learnt to time Liyu Xue manage much more effectively but most of all I have gained from a group of close friends. “ Don’t be afraid to experiment and don’t always use fineliner!” My most memorable moments are Sam Selley the first and last days in class. I made a lot of new friends whilst on the course and we have experienced a “ Freelance illustration isn’t the lot together. These days stick firmly only possible job outcome from in my head because of the changes an illustration degree, there are lots I see in all of us and how our time on of other ways you can use your skills.” the course has bettered us.” Zoe Murphy Stephen Kingsbury
“ Most memorable moment - being in Barcelona with the course was such a great experience! I would do it over and over again.” Dom Rhead
“ Most important things learnt? To take criticism constructively and recognising the value of having a unique way of working.” Emily Skee
“I think the most important thing I have learned from the course, strange as it sounds, is self confidence ... I feel I have grown as a person.” Elizabeth Smallwood
” I have learnt that mistakes are to be made. Doing something wrong isn’t always the worst.” Francesca Jefferys
“ I took part in the study abroad option in my second year and had quite an adventure studying in Poland – the best moment in my life so far and the most memorable.” Samyang Chemjong
“ Most important things learnt? Never stop asking questions.” Natalie White
Ruth Youg 75
Emma Charnley w. emmalilycharnley.wordpress.com e. emmalily93 @ live.co.uk t. 07913 229687 Samyang Chemjong e. slimbu07@ hotmail.co.uk t. 07500 438632 i. @ OMG_Bigfish Julia Coyne w. jcoyne93.wix.com/illustration e. jcoyne93 @ gmail.com t. 07535 388851 i. @ juliacoyneillustration
Carly Davies w. carlyanndavies.wix.com/illustration e. daviesc064 @ gmail.com t. 0794 424844 i. @ carlyanndavies Pippa Dew w. pipjdew.wordpress.com w. pipjdew-art.tumblr.com e. pipjdew @ outlook.com tw. @ pipjdew i. @ pipjdew
Bronwyn Garfith w. BronwynGarforth.wix.com/ BronwynGarforth e. bronwyngarforth @ gmail.com t. 07808 017274 tw. @ Bronillustrates i. @ Bronwyn1093 Naomi Geeves w. naomi-geeves.tumblr.com e. naomi.geeves @ gmail.com t. 07503 326991 tw. @ naomi-geeves i. @ naomi-geeves
Jacob Holland w. Cargocollective.com/ jacobhollandillustration e. jaytub @ hotmail.co.uk t. 07899 040507 Dongqing Hu w. behance.net/FFD900 e. hudonqing @ hotmail.com t. 07511 275977
Francesca Jefferys w. franjefferys.com e. fran @ franjefferys.com t. 07538 524104 tw. @ franjeffreys15 i. @ franjeffreys
Stephen Kingsbury w. StephenKingsburyillustration. wordpress.com e. stephen @ pkingbury.org.uk t. 07503 252633 i. @ StephenKingsburyillustration
Monica Lai w. Monicalai.wix.com e. monica.wm @ gmail.com i. @ ml.illustration Shakira Levine w. kiralevine.com w. Blog.KiraLevine.com e. kira @ kiralevine.com t. 07950 416892 tw. @ Kira_Levine i. @ kiralevine Aino Lius w. ainolius.wix.com/aips w. Aips.tumblr.com e. aisofspace @ gmail.com e. lius.aino @ gmail.com tw. @ aipsl i. @ aipsventures
Hannah Marno w. Hannahmarno.wordpress.com e. hannahmarno @ outlook.com t. 07841 577526 tw. @ hannahmarno i. @ hannahmarno fb. Hannah Marno Illustration Ciaran McGuinness w. iamthenumpty.wix.com/portfolio e. mcguinness_ciaran @ hotmail.com t. 07850 318700 tw. @ iamthenumpty i. @ iamthenumpty Zoe Murphy w. Cargocollective.com/zowiemurphy e. zowie.murphy @ hotmail.com t. 07803 559064 i. @ zowiemurphy
Eugenia Nelson w. eugenianelson.wix.com/ illustrator-portfolio e. eugenianelson @ live.co.uk t. 07889 398853
Eni Ilori e. eniilori @ hotmail.co.uk t. 07715 245093 i. @ eni-illustrations
Ozgen Osman w. ozgenosman.wix.com/portfolio e. ozgen.osman @ hotmail.co.uk in. uk.linkedin.com/in/ozgenosman-89230389 i. @ ozgen.osman.illustration
Naba Kiran Rai w. Nabakiran.wix.com/ w. kalakaar.tumblr.com e. naba.kiran.rai @ gmail.com t. 07878 911122 Dom Rhead w. Invis1.tumblr.com e. domrhead @ gmail.com i. @1NVI5 Lucy Richards w. Loarrichards.wix.com/loar e. loarrichards @ hotmail.com t. 07711 209969 tw. @ LRichardsArt i. @ L_O_A_R fb. LOAR Katy Robinson w. katylouiseillustration.com e. katylouiserobinson @ live.co.uk t. 07946 585428 i. @ KITTENFEATURES
Sam Selley w. samselley.co.uk e. samselly941@ googlemail.com t. 07934 648853 i. @iamsamselley Emily Jane Skee e. emilyskee @ yahoo.com t. 07762 361287; 01483 522203 tw. @ skeecreations Elizabeth Smallwood w. Lizziesdrawingcorner.wordpress.com e. Liz-e-g-s @ hotmail.co.uk Rosie Spooner w. rosie.spooner.wix.com/illustration e. rosie.spooner @ outlook.com t. 07768 226512 tw. @ rosiespooner i. @ rosiespooner
Natalie White w. nataliewhiteillustration.com e. natalie_erica_white @ outlook.com t. 07450 276839 i. @ natalie.erica.white Ben Williams â€“ Gray w. bengrayart.tumblr.com e. bengrart @ yahoo.co.uk t. 0766746742 tw. @ bengray i. @ bengray
Liyu Xue w. Liyuxue.com e. af_ts @ outlook.com
Ruth Young t. ruthyoungart.tumblr.com e. ruthyoungart @ outlook.com i. ruthyoungart
Designed, Art Directed & Edited by: Jonathan Pickford, Alex Vosper and Jane Cradock-Watson. All Photography by: teaching staff and students on BA Photography. With thanks to all the Illustration Academic staff team, including: Jim Walker, Robin Chevalier, Iro Tsavala, and Mireille Fauchon, as well as the students who contributed articles, Allison Inwards, Cairan McGuinness and Francesca Jefferys. All Farnham support teams especially: Jonathan Jarvis, Tony Lee and Katie Prendergast. Printed by: PPG Print. Published by: The Lion and Lamb Press.
UCA Website: uca.ac.uk Illustration Course: uca.ac.uk/study/courses/ba-illustration ucaillustration.blogspot.co.uk/ @ illustrationuca
Cover Illustrations by Ruth Young
B125 : Studio Days