Now, here’s a treat. Hopefully you caught Georgia Takacs’ wonderful insight into the awe-inspiring world of Prangsta Costumiers last week: the celebrated (if somewhat unconventional) Alice in Wonderland-esque bazaar in New Cross.

Now I would never in a million years suggest that readers of Amelia’s Magazine come to the site just to look at pretty pictures, what with our bursting-at-the-seams stock of fabulous writers, but in order to bring a little sunshine and entertainment to a so far grey Wednesday, feast your eyes on some glorious images and illustrations from Prangsta.

Georgia, who wrote the article, took part in a shoot with the team there, capturing the many faces that pass through the doors and even more of the craft-packed corners of this wonderful find. So here they are. I’m convinced you could look at this place all day and never get bored – I hope you agree!

Illustration by Krister Selin

The latest shoot focuses on a somewhat macabre Snow White, shown with an array of weird and wonderful friends:

Illustration by Rachel de Ste. Croix

Prangsta also worked with ethereal fashion photographer Ellen Rogers, and the result is astonishing. Rogers’ photographs make heavy use of photographic techniques from long ago, evoking (for me at least) images of Marlene Dietrich in Hot Venus and the eery portraits of death popular in the Victorian age. Whatever they evoke, this marriage of Prangsta and Rogers is incredible.

Photographs by Ellen Rogers

To read the original article about the wonderful world of Prangsta, click here.

Bike by Mark Taplin

Sorry about that, it is in the listings, possibly you are even reading this after the exhibition has closed in which case HELLO IN THE FUTURE (look out for flying cars, in the London Transport Museum, which would be the appropriate place, just don’t pay the £10 entrance fee in hope of seeing illustrations if they have already gone.)

This is the second collaborative competition venture the Association of Illustrators and the Museum have undertaken. Due to some factors, possibly such as their acquiring of a twitter account since last year this one was considerably more competitive than the last. I have it from the actual woman whose job it was to count them that there were over 3000 entries for the 50 places in the exhibition. Am I still a little bitter that I didn’t get in? Only a little, as the standard of the work that did get in is in general very high indeed.

Life cycles by Kevin Ward

It’s a beautiful show that really exemplifies the amazing wealth and variety of Illustration talent around. Not all of the work was to my taste but given the breadth of styles included that’s not really surprising; the AOI on typically excellent form at celebrating the medium.

Amidst the variety of work from established and unknown artists some trends are discernable; many illustrators have worked in animals either using the London Zoo as an iconic destination or including pigeons or dogs to help out with the green association as this is after all an exhibition exonerating the environmental benefits of cycling in the city (woo – go bikes).

Some pieces like Jove’s beautifully designed utopian poster, Jessid Ford’s gorgeous graphic colours ‘A to B and all the sights in between’ print and Mark Taplin’s lovely single colour classic screen print style image echo the classic transport posters which the London Transport Museum has long loved and displayed and sold on postcards.

the only way to see London by Courtney Lee

Although this was my first visit to the Museum it does seem to have this dual personality. The visiting tourist children who must surely be its main market come for the fun interactive displays, the chance to get photographed driving a routemaster, and apparently the chance to run around and collect holes punched in a gotta catch em all style transport treasure trail. A brand new Boris Bicycle is the centrepiece in the tucked away gallery space where the show is housed and while I was there families and older children in groups often came in, checked off the bike on their list and left again with not more than a passing glance at the art on the walls.

I hope there are people like me and the other lone visitor giving a significant amount of time to the exhibition that also come to the Museum for its other angle – the amazing wealth it has in its association with artists both in projects like Cycling in London and other initiatives like art on the underground which has been going for years and features inspiring new art on underground station walls and in their outstanding collection of classic advertising posters which London Transport has commissioned over the decades. Many of these can be seen adorning souvenirs and postcards in the Museum shop – which happily can be accessed without paying the entrance fee. Perhaps more people would be likely to see this exhibition if it could be accessed separately from the Museum proper at a reduced fee.

Rachel Lillie’s first prize winning entry

Perhaps they could have also chosen a different image other than the winning illustration to use on their posters advertising the show which have been well spread across the city. I don’t wish to say anything against the judges choice or Rachel Lillie’s beautiful piece but as an eye catching image with a wide appeal I think there were many pieces in the show that would have been a better choice.
Evgenia Barinova’s awesome striking poster like piece on wood for example which dominates the far end of the room with its inspirational message ‘if Super Heroes couldn’t fly they’d ride a Bike!’ or Laura Callaghan’s fantastically serene flying cyclists setting a joyful example and clearly having more fun than their tube riding counterparts.

Freewheel by Laura Callaghan

There are things that make illustration itself, rather than fine art, and things that make it great. Looking at their selection of winners the AOI clearly are big fans of the medium’s capacity for a sort of dualistic immediacy – a leaf which is also a map, an aerial view which is also a bicycle and nature and cyclists incorporated into a beautiful decorative inclusive layout in the tradition of a William Morris wallpaper. (I’d quite like a Mia Nilsson wallpaper actually – anyone from Habitat buying reading?). They seem to have favoured visual sense and simple dense colour over drawing or realism. This is an ideal in illustration that I think some people seem to put on a bit of a pedestal but as I said before it is far from the only style on show.

close up of Mia Nillson’s winning artwork

Another quality of illustration – it’s relationship with and commentary on popular culture is also much in evidence here; Jamie Wieck’s hilarious the joy of cycling being an obvious standout with subtler cultural references in Patrick O’leary’s mods on push bikes instead of scooters and Ross Crawford’s lovely cockney rhyming poster combining the classic and bang up to date cultural takeoff (blessedly does not actually include the over used ‘keep calm and…’). ‘Many Artists Who Do One Thing’s awesome circus graffiti style poster is cheeky but to the point – cycling is fun, and a little bit revolutionary.

The Joy of Cycling by Jamie Wieck

Look after your Jam tart by Ross Crawford

Also present are our gorgeous children’s book style contingent with their universal appeal; Kevin Ward’s fantastic animal charactrers in retro colours(?) and Courtney Lee Bourdman’s happy happy tourists on their double decker bicycle bus (clearly uniting the Museum’s selling points perfectly); Catherine Denvir combines digital techniques for a more tongue in cheek surreal childish quality.

Speed Cycling by IGnjat Reljic Djuric

The strong classic illustrative style of simple expressive drawing is exemplified by Ignjat Reljic Djuric’s perfectly balanced piece where the cyclist seems like a plucky underdog to the epic red buildings; old favourite Belle Mellor provides a fantastically idiosyncratic interpretation although not the only illustrator to use London landmarks as hats (make of that what you will) – David Hughes also does this with as ever lovely ink lettering and layout. Judit Ferencz’s hand drawn image makes excellent use of space and Alex Bitskoff also uses layout magnificently (although not simply) with his richly coloured city wave erupting into the clean environmental space.

allways leisurely with Bicycle by Judit Ferencz

One of the things I like about illustration is that in this medium quick simple execution and epic complex work are equally as valid. What matters in an illustration is the impact and the joy and the communication. And illustrators can be amazingly skilled at thinking of new conceptual and exciting ways of presenting the same idea – their bread and butter work is often sexing up the figures in business magazines after all. Some of these pieces clearly got in to the final 50 for the idea used, others for the execution.

what’s that? you’ve snuck in your own unsuccesful entry to the competition Jenny Robins? cheeky bint.

I’ve not even talked about my very favourite school of illustration present in Cycling in London! – I love me some collage and there are fantastic examples in the work of Alison Bell whose lovely retro collage and print techniques clearly echoes the recent Varoom feature on the resurgence of the medium (how could they not include it then?); Lianne Harrison makes cool creepy bus-stop characters and Tracy Long’s tiny magazine faces on fancifull animal cyclists stole my heart, although I don’t think St Paul’s in the background adds anything. I imagine she added it to fit the brief about Cycling in London but looking at what else has got through I think she could have got away without it.

Goodbye to the Hustle and Bustle by Lianne Harrison

Eye Eye around London by Tracy Long’

I was running out of time before closing but just had time to check out Georgina Brookes’ awesome cutouty graphic layering and Clayton Junior’s ace layout and colours employing a classic illustration immediate impact swap technique.

I had to leave through a secret staircase and the Museum employee waiting to lock up behind me smiled beautifully saying “interesting exhibition isn’t it?”
Well yes, it most definitely is, but the wording of the comment shows the attitude that this is something unusual is still the norm. I go to more illustration exhibitions than fine art ones, and in this world it’s easy to forget that to most people it’s still a bit of a non-concept. (you’re an illustrator eh? Cartoons? No? Book covers then? – sound familiar?) And good on the LTM for putting on projects like this but the way it’s presented on the posters and tucked away at the back of the museum still seem to me to reinforce it’s esotericness. Which is just a little sad. But let’s not end on a down note. Maybe illustration is like the poor relation of art – but is not the bicycle the poor relation of the car? And which is cooler, greener more, you know, government endorsed?

On your bike kids.

Andrew Thorpe
I liked Andrew Thorpe’s strange targets and squirrels etched onto wood.

Jamie Peter Hall
Jamie Peter Hall’s Germanscape used household paint on wood. His work has an appealing real fine art feel to it.

Myrto Williams
For some reason I found this work from Myrto Williams extremely unsettling. But the combination of hyperreal style and unusual subject matter certainly drew me in.

Nina Malysheva
This clever collaged paperwork to illustrate The Rime of the Ancient Mariner from Nina Malysheva had great appeal.

Paddy Jones
Paddy Jones takes cue from comic books, Andrew James Jones, Modern Toss and ilk to produce fun characters, often with an accompanying storyline. I liked his large wooden cutouts.

Emily Brown
Does some very nice woodcut animals, but other than that I can tell you no more because she barely has an online presence. In fact this image was all I could find.

Imogen Kirk-Reynolds
Imogen Kirk-Reynolds played around with found imagery and type.

Rochu Chiu
A nice bit of nonsensical fun from Rochu Chiu, who had stuck a load of postcards spilling out of a fake letterbox onto the floor. Illustration or installation? You decide.

Christie Corbally
I liked some of Christie Corbally’s very trendy crystal influenced printed textile designs, but again, no website and no way to find more of her work. Even her link on the Save Our Souls website doesn’t work.

Pete Willis
I liked Pete Willis’s strange family portrait in coloured pencils and the similar scratchy pencil style of Feronia Parker-Thomas, who was reviewed in Matt Bramford’s earlier blog.

On a bit of a tangent, I was most intrigued by the work of Sprouting 56… which appears to be a collective of “co-facilitators of edible related projects” that blurs into the Transition Town Brixton and Peckham food groups and takes into account a bit of guerilla gardening… quite what it has to do with illustration or any other artistic discipline I’m not sure, and will need further investigation. But it’s great to see artists tackling these kind of projects as part of their degree work. Very exciting stuff. With apologies for the shite photograph below but it’s all I have.

Finally, I have to say that I continue to be massively surprised by the lack of online engagement from the majority of graduating illustrators. I suppose what irks me most is that I actually lectured most of these particular illustrators when I visited Camberwell during their second year, and I distinctly remember devoting a large part of my lecture to the importance of online networking – and especially the importance of being on Twitter. I’ve yet to find one of these illustrators proactively on there.

I suppose that what I take from this is that unless I actually sit down and spend significant amounts of time helping illustrators (or other artists and designers) to set up their online presence, then it simply goes straight over their heads. But then, that’s completely down to whether the art colleges will employ me to do so. I don’t think they can afford not to. Tutors, if you’re reading this, you know where to find me….

Because I don’t always share the same taste with the wonderful Matt Bramford, here’s a quick double blog review of the Camberwell College of Arts Illustration degree show, Save Our Souls, which I popped down to in the now defunct Nicholls and Clarke head office in Shoreditch a few weeks ago. I wrongly imagined I would be able to whip around it super fast, but as Matt has already said in his round up, there was so much to see I was soon running late for my next appointment….

Here, then, are my favourites:

Soju Tanaka
As soon as I entered the exhibition I was drawn towards the delicate artwork of Soju Tanaka, which featured lots of strange little creatures cavorting around in trees, or climbing on clouds. Her website is full of slightly blander digital artwork – she should stick to this style IMO. I hope Soju is a she…

Polly Philp
In a darkened room behind curtains Polly Philp showed her colour saturated film The Caretaker – a right old romp through all things currently trendy. A mystical looking gentleman with a long beard walks through a cave of stalactites. Encounters all sorts of ethnic and occult objects. Smokes a skull pipe. Finds an eyeball in his mouth. Gazes into a candlelit mirror. Eats an egg. I’ve no idea what the hell it all meant but it was so much fun I watched it three times. It’s a shame then that Polly’s presence on the web is near to zero. The website on her postcard doesn’t work, her blog is set to private (like, duh) and her flickr account tells me very little, apart from she is quite odd. As if I didn’t know that already. Maaaaan, it just makes me so cross. Get online lady! Start promoting your work. Because it’s very good!

Colin Stewart
Former Amelia’s Magazine contributor Luke Best apparently teaches at Camberwell College and his cut and paste painted style has had a marked influence on some of his proteges – particularly Siobhan Sullivan and Colin Stewart, the latter of whom has done some wonderful work for this very website – you can see his pictures of Patch William in my blog about Glastonbury this year.

Miriam Elgon
Miriam Elgon has produced some of the most individual work I’ve seen from any recent illustrator – her scratchy overlays creating a rich narrative tapestry that calls to mind the work of impressionist painters. But she has no website. Why oh why oh why?

Ella Plevin
Ella Plevin was one of my very favourite Camberwell illustration degree graduates. Her gorgeous combinations of pastel colour-filled line drawing and photocopied montages look deceptively simple and work brilliantly. Plus she has a fabulous and comprehensive website up and running, as all graduates should. Go take a look…

Vitalism by Ella Plevin.

Harriet Wakeling
Harriet Wakeling showed a beautiful shell trailer attached to a bike. Some of the work in this show was really pushing the boundaries of what defines illustration and this was mos def one of them. I’m not sure this has anything to do with illustration, but I love all things bike-inspired, so can I have one please?

Kai Chan
Kai Chan contributed one of her colourful intricate illustrations to the last ever print issue of Amelia’s Magazine, and it’s good to see her very distinct style has developed into something really wonderful. Here’s a detail from a long banner she had wrapped around one of the pillars.

Andy Ainger
Rounding a corner at the bottom of the stairs I encountered the work of Andy Ainger, who makes strange paper mache characters. Here The Band (a collaboration with Sean Fitzpatrick) was a collection of nearly life-size (in a munchkin vein) models in bright primary colours. A lot of fun.

Oscar Bolton Green
Despite a glaring error in the spelling of Oscar Bolton Green’s website on the exhibition tag which meant I had to hunt him down via the Save Our Souls website despite taking thorough notes *wrings hands in despair* I loved Oscar explorations of the different types of bird beak – he’s a natural for graphic children’s book design. Lovely stuff.

Yana Elkassova
Yana Elkassova is one for all those fans of old Ladybird books – a clear inspiration on this extremely talented illustrator who mixes retro hyperealism with a dash of darkness. She also had some wonderful custom made Russian dolls on show that you can view over on Matt’s blog post. And a beautiful website to boot.

Detail from Yana Elkassova’s work.

Jess Stokes
The lovely Jessica Stokes was a very able editorial intern at Amelia’s Magazine who produced some wonderful articles for us, and since then she has completed her degree, the main body of which centres around the most wonderful intricate architectural line work. She also specialises in some fabulous oddball portraiture.

I’ve rounded up the best of the rest in my next blog post so just click here to read more…

You might remember Sketchbook magazine from the last time it ‘popped up’ on Carnaby Street. From a bright blue shop in the Newburgh Quarter, the magazine fusing fashion, illustration and culture hosted a series of talks, live music and lectures, with blogging legend Susie Bubble and our very own Amelia bringing their views to the table.

But this time, the magazine team are back with a different agenda. Occupying a shop space in Kingly Court from the 19th to 30th July, Sketchbook STUDIO is like a fashionable laboratory, where young artists, photographers, designers and stylists all get to practice and showcase their work.

At the heart of the studio are 25 young artists, who have each been invited to work on different projects – with the final work to be auctioned off to charity at the end of the week. In the background, photographers and stylists have been encouraged to shoot fashion editorial and looks books. It’s a springboard for emerging creative talent – much like the magazine itself, with the third issue being created ‘live’ as the pop up takes place.

“I wanted to create something a bit like Studio 54 – a creative community,” says Wafa Alobaidat, Sketchbook’s editor and creator. “But this is a lot more open and collaborative than a fashionable clique. Everyone’s welcome!”

On the day we visit DJ Sarah Young has hit the decks, sound-tracking a fashion shoot in full swing on the ground floor. One floor up, the magazine team are blogging and tweeting to their heart’s content, and trying to get things ready for the new issue. A stylist sifts through rails of clothes provided by vintage emporium Rokit’s ‘Designer’s Guild’, an exclusive collection of vintage designs reworked by up-and-coming designers.

Downstairs in the basement is the artist’s hub, where illustrators are hard at work sketching. Fashion designer Omer Asim drapes a mannequin with fabric, whilst visitors play with a video art installation and help themselves to cupcakes. It’s manic, but seems to be just another day in the life of the Sketchbook team!

Members of the public are also welcomed inside to take a peek, (and quite a few shoppers stray from buying as the DJ kicks in) and meet the team. They can even become part of the Sketchbook experience themselves, with the ‘Sketch a Smedley’ event on the 30th. Rails of luxury knitwear label John Smedley will be on hand to try on, and budding models will be sketched live by illustrators.

Clearly the studio has brought a buzz to Carnaby. But what’s next for the Sketchbook team?

“That’s a secret!” laughs Wafa as we finish our tour of the Studio. “But we’ve got more live projects in the pipeline, so you haven’t heard the last from us yet!”

Sketchbook Studio ends today. To see the magazine when it launches, visit here.

You can also read our review of the previous Sketchbook pop-up and Amelia’s talk here.

T-post is the world’s first wearable magazine. Nope, it isn’t a Vogue-September-Issue-style glossy mag that has been fashioned into a Stephen-Jones-style millinery creation, but a t-shirt that poses as a magazine. It’s the brainchild of Sweden-based Peter Lundgren, and produced using an army of writers and illustrators. The concept is pretty simple – a current or topical news story is printed on the inside, and an artist or illustrator interprets the story on the outside. Previous topics have included immigration, the Nobel prize and Mickey Mouse, amongst many other things, and artists contribute from all over the world. Subscribers receive a new t-shirt every five weeks, with T-post producing its 57th issue very soon!

I had a chat with founder and editor-in-chief Peter Lundgren to find out more about T-post…

What’s the thinking behind T-post?
It all started with the idea of trying to re-wire the structures of news communication. We started concepting ways to engage people in important topics, and our favourite garment, the T-shirt, seemed like an ideal media for doing so. T-shirts inspire conversation, and when you add a story behind them, you get people thinking. By combining a news magazine subscription with a T-shirt we’re able to utilise the attention and commitment accustom to the ‘fashion world’ while communicating interesting news topics. And by putting the written story on the inside of the Tee just for the subscriber to read, the subscriber is really the one communicating the story and getting it to spread outside the T-post circle.

Since the article is not usually available while wearing the T-shirt, it really becomes their personal interpretation of the story, which is even more interesting to hear about, I think!

How did it all begin?
The idea was born back in 2004 in an advertising agency I co-owned at the time. During that year it was just a fun project that we did in between other clients. I always saw great potential in the project, but realised that I needed to focus on it 100% to get it to take off. In the beginning of 2006 I handed over the agency to my partner, so I was able to give T-post the chance it deserved. My goal was to not take on any investors along the way, even though I had lots of offers, which left me with six months to get the number of subscribers from 300 to a 1000 to still have a job.

After about two months we got a centrefold article in one of the biggest news papers in The Netherlands. After that T-post got its own life in newspapers and on the internet.

Describe T-post in 3 words.
I can do it in two: “Conversation piece”.

Where do the ideas for each ‘issue’ come from?
It can be a reflection on several news stories which have a connection or just a single interesting story that we’ve picked up in a newspaper.

How do you source and network with illustrators and contributors?
We’ve been very lucky. We always have a lot of illustrators contacting us wanting to interpret one of our stories, so we keep a constantly growing library of who we think have the most unique and interesting look.

And when it’s time to match a story with an illustrator we chose the one who we think have the most suitable look for our written story.

Can anybody contribute?
Absolutely. Just send us some examples of what you’ve done in the past and we’ll consider you for a upcoming issue.

Is it difficult running a business and maintaining creativity?
This is what I’ve always loved to do so I automatically pick up stuff which I think is interesting and could make a good issue. You have to surround yourself with talented people who can bring the best out of you and the brand. I always bring a bunch of ideas to the table some of them are good but most of them are really shitty. So it’s important to have people around you which you can try your ideas on.

How are the t-shirts produced? Are the actual t-shirts ethical?
We use American Apparel T-shirts so we’re really comfortable with them being produced ethically.

What are your thoughts on advertising?
Nobody likes advertising, yet everyone pays for it in the purchase-price of a product. Not with T-post. T-post began as an underground phenomenon amongst friends and we have grown honestly and organically. We’d like to keep it that way. 

We don’t create advertising. We create dialog. We listen. We don’t believe in corporations telling people what to believe. Instead, we only believe in our family of subscribers. Our fans do the only kind of advertising we like: word-of-mouth.

Your ethos is that T-post only produces the amount of t-shirts necessary to correspond with subscriber figures, to avoid any waste. Are environmental issues important to you, and your magazine?
We just try to do what we can with the recourses we have. Which all companies should. It’s important not to use more than what is absolutely necessary for your business to work.

The first issue of T-post had a run of 5 copies – how many subscribers do you have now? Do subscriber numbers multiply on a monthly basis?
Today we have about 2,500 subscribers in over 50 countries. And it’s about 150 new subscribers signing on each month.

How will T-post develop? What does the future hold?
Right now our only goal is to make as interesting issues as we can. We’re trying to expand what we can deliver in each issue to make our message as clear as possible. One example is our Augmented Reality Issue:

Who would you like to seeing wearing an issue of T-post?
I would love to see Andy Warhol wear one, but since that’s not so likely the next best thing would be to see Jon Stewart wear one on the Daily Show!

To subscribe, visit the T-post website!
To contact Peter and the team about contributing, see the contacts page.

Unless you’ve been living under a rock for the last few months, you’ll know that we have a soft spot for illustration here at Amelia’s Magazine.

So I popped along to the grimly-titled but rather splendid Save Our Souls illustration exhibition a couple of weeks ago – the latest offering from Camberwell College of Arts. Free booze flowed (sometimes too closely to some of the works, which made me ‘eek’ aloud. Seriously) and there was SO much to see – too much, actually – it was a little overwhelming. With so much talent on display, it made me realise just how competitive the illustration industry is – but thank heavens we’ve been featuring so much on here recently!

Most people chose to sit outside and booze – it was a pretty hot evening.

How you digest all of this wonderful work into 500ish words is beyond me, but I’m going to give it a damn good try. The exhibition featured not only traditional, framed illustrations but lots of other mixed media works, fashion, film and sculpture. Here’s my top picks of the day, whose souls I’ll be saving by featuring them in this article.

In no particular order, honestly:

Katie Brookes
I was absolutely astonished by Katie’s intricate, large-scale drawings, pleasantly-titled The Pathway To Hell. (‘What is it with all this talk of death?’ I wondered, ‘these students need cheering up!’) The detail in Katie’s drawing was incredible, and amongst a lot of delicate, minute pieces, this really stood out.

Moa Ceder
In contrast, Moa’s diminutive and very simple line drawings also grabbed my attention. I enjoyed musing over the impish characters and Moa’s appreciation of light and dark. Simple but effective.

Alice Lindsay
Alice also made attractive use of light and dark with her slightly weird scenes. These intriguing lithographs derive inspiration from literature (these are in fact based on ‘Something That Needs Nothing’ by Miranda July). Their monotone colour palette with flashes of red created drama and were a striking inclusion into an exhibition which featured so many bright colours.

Colin Stewart
Colin Stewart’s mixed media pieces were unmissable in this exhibition (and not only because they were immediately visible from the entrance!) They featured unusual characters with Picasso-like faces, amongst architectural backgrounds.

Feronia Parker Thomas
I very much enjoyed glaring at Feronia Parker Thomas’ childlike pencil drawings, featuring domestic scenes such as smokers outside Battersea Power Station and Elvis. Feronia’s technique made her colourful pieces appear motional.

Emma Denby
I loved loved LOVED Emma’s eccentric short film about schizophrenia, with each scene hand drawn or making use of mixed media techniques. With a 1950s informational-video-voiceover, this video made the room of viewers chuckle aloud. Watch it!

Yana Elkassova
Yana produces playful illustrations for children’s books, made up of beautiful pencil crayon sketches, but it was her fabulous Russian Doll series that had me drawn (illustration pun intended) to her little section. Two sets of dolls appeared, one saucy Burlesque stripper, complete with flirtatious wink and hands-behind-back-undoing-of-bra, and a 1950s housewife going about her domestic duties.

Jason Colbert (Double Barrel)
As fashion editor of Amelia’s Magazine, I simply couldn’t resist featuring Jason Colbert’s quirky t-shirt prints. Manufactured using vinyl, digital techniques and screen-printing, Jason’s pieces feature simple geometric shapes and animal faces – making use of contrasting colours. Great styling in these photographs, too.

Tigz Rice is an inspirational and dynamic illustrator, using Photography, costume, drawing and photo-manipulation to create deliciously textured gothic burlesque worlds. Her new picturebook Bitten re-tells the story of Snow White while looking more deeply at the implications of our quest for Beauty and the lengths we may go to achieve or maintain it.

As ever she gets amazing character work out of her beautifully dressed models and produces stunning scenes and backgrounds, leave this book on your coffee table and expect some serious conversation.

I “caught up with her” in the run up to the launch to talk inspirations, processes and paradoxes;

illustration by Jenny Robins

morning!

morning!

I have a fridge freezer arriving sometime between now and 5pm, just a warning if I suddenly disappear lol.

That’s exciting! Can I put that in the interview?

Haha of course! don’t ask me what make it is though, I have no idea

Congratulations on the book, it looks wonderful.

Aw thanks! It’s been a long journey but it’s so great to see it in its final form!

I think it’s taken about 6 months from idea to completion

that’s epic!

Your obviously very inspired by Fairytales, what was your favourite Fairytale when you were little – and now?

It’s not exactly a fairytale, but Alice in Wonderland has always been my favourite – there’s just so much in the story and you find something different every time you read it. I also had a favourite book called Winifred’s New Bed, which I read every week for years. I’ve been trying to find a copy of it for a while now but it’s out of print

Maybe when you are famous(er) you can use your influence to bring it back

That would be ace – I wonder which artist did the artwork?!

Are there other fairytales would you like to adapt?

Loads! I have a book of the original stories by the Grimm Brothers’ which I think I might end up slowly working through! I’ve got a couple of book ideas and commissions on the cards at the moment too, in particular one about tooth fairies

Would it be fair to say Bitten explores our often destructive relationships with Beauty, both as artists and women? Do you think it’s possible to escape this attitude in our society, and would you really ever want to?

I think it’s true yes, the world is obsessed with beauty and this never ends in a positive fashion. The Mirrorman plays the part of peer pressure, and shows the extent of its power over us. It also shows how some people, who are naturally beautiful, are shunned by society for having these characteristics we are willing to go through life-threatening surgery for. Having worked with the burlesque industry over the last few years, it has been wonderfully refreshing to find a society of people who accept curves, flaws and ‘real beauty’ as the Dove adverts used to say! I think it is possible to escape the current media trends for perfection, but I doubt it would ever happen in mass society.

I also think that as an artist, it is very hard to go against the ideas and conventions of the mass culture, which is why many readers find the content of my books challenging. Wonderland, for example, was based on the true story of a cocaine user. The book received very mixed reviews

do you think that’s the paradox of art? being expected to allways be knew and interesting, yet always conform to established conventions of aesthetics and subject matter?

Lol yes, very much so! All artists are expected to conform to current chosen styles, trends and subject matter, then get knocked down for being ‘too similar to artist X, Y and Z’. Having chosen to go the opposite way with my artwork and find something unique and unknown, it is a constant battle but the rewards are much greater!

So much of your work features amazing fashions and costumes, do you dress flamboyantly in real life?

Depends on the occasion! I attend a lot of burlesque shows and events through my photography work so I like to get dressed up and be part of the crowd, although days like today in the studio you can find me in a denim skirt and tee.

Does most of your work start with a photoshoot? Do you have a clear idea of how the work will look beforehand, or does a lot of it come with the way the photos work out, and things that come to you and the model during the shoot?

Working with photo manipulation, its easier to create a background round a pose than to reshoot a model, so yes I suppose the primary focus is alway the models. Each shoot normally starts with a good amount of storyboarding, especially book work. The costumes, storyline and poses are all pre-arranged, although I always make sure to get a few slightly different poses just in case I change my mind halfway through and find something better (which can happen quite a lot!) About 75% of a book will end up as oringinally planned, but there’s always room for new input, especially from the models who can come up with some fantastic ideas and poses.

There’s a real organicness to your work, contrasting with the super tight elements, do you consciously keep the physical origins of the imagery in mind when working on the computer?

I’m put in mind of Dave McKean’s early work where he was just using a photocopier to create photo-manipulated effects. Very physical and surreal.

Dave Mckean is possibly my favourite artist and was a great inspiration in my earlier works, yes! The majority of the artwork is all done with photography including all the backgrounds and textures and I’m very conscious of keeping everything as realistic as possible, which often creates a more surreal effect. Its also strange seeing work in print for the first time!

Image from Bitten courtesy of Tigz Rice

You make books and pictures for adults, but work with children so presumably don’t dislike them, do you want to do any children’s book projects in the future?

I actually have a children’s book idea I’m working on at the moment, yes! Its a collaborative project with digital artist David Cousens of Cool Surface and at the moment we’re just finalising the story line. I’ve always wanted to work on a children’s book but my style would involve photographing children, which brings about a whole new string of legal issues of working with minors. Working with David, I’m going to creating the backgrounds and scenery while the lovely David creates the characters digitally. I’m really excited about it!

That sounds awesome!

It should be fantastic, David is a fantastic artist and its an honour to be working with him.

Do you enjoy collaborating?

I love collaborating, I think it stretches you outside your comfort zone and helps you to grow as an artist. At the moment I’m just finishing off a collaborative book I’ve put together called Fragments, which features 20 artists who create dark and visually stunning artwork. its been a challenge, but I can’t wait to see it all come together. The book should be out later this year.

You seem to have so many projects on the go. Do you have to be very organised in your business planning mode? do you think this is the secret of your success? What organisational tips do you have for flighty freelancers?

I’m far too organised for my own good! Every 6 months I sit down and set myself hard but achievable goals, to give myself some direction so I don’t procrastinate between projects and have a set career aim for the near future. Things like learning a new software programme, creating a new book or challenging myself to be featured in three magazines. The goals also include silly things, like book a spur of the moment holiday, try to go to bed before midnight or (currently) give up ice cream. You might not get everything done, but its a very good way to monitor your productivity too

Image from Bitten courtesy of Tigz Rice

Fantastic.  let’s do a few quick questions to finish off, I’m sure are readers are dying to know..

Are you a cat or dog person?

Cat! I’ve always wanted a tiger…

If you had to lose an arm or a leg, which would it be?

A leg, no competition!

What would be your superpower?

I’d love the ability to read other people’s minds

What am i thinking now then?

Whats for Lunch?

See, you can do it already!

haha

win!

Bitten launches on 7^th of August at a Party in Bath, it retails at £18 but if you act fast before the end of July you can pre-order a copy for £15!

Also do not fail to check out Tigz’ Website, Etsy, Blog, Facebook, all the good things.

If you are visiting Windsor this Summer, and I really think you should because it’s got everything: Nando’s, Wagamama, a Castle – no really, it’s really pretty. Pretend you are posh, or a tourist. If you are posh, pretend to be a tourist, and vice versa. A nice day trip away from the city; a nice daytrip towards the city, but not quite too the city. If you live West.

Anyway, if you are visiting Windsor this Summer, be sure to stop in to the Mill House café and look at the really lovely Fragments exhibition put together by the superstar curatorial team Two Magpies Find. It’s on the left as you walk away from the Castle down Peascod Street, opposite Ben & Jerry’s. The show is up till the end of August.

Ok, this exhibition in question does include a lot of my work, so this is a bit self serving (insider’s perspective, Amelia said) but I don’t want to talk about that too much (although I will mention that the WHOWHATWHEREWHENHOW owl series is available as a limited edition postcard set – I’m only human). I wrote a big thing about me and why I paint birds for their local Beat magazine off the back of Fragments, so please feel free to go read that. I like birds, you like birds, we like birds, I paint birds, fly bird fly, etc.

But seriously, it’s all about the birds, kids. Edward Bawden used to say that the secret to selling paintings was to put cats in them wherever possible. Plenty of art lovers still love cats, that’s still a cliché. But in the last few years, particularly, it seems drawing birds is a strong contender. Just look at the fabulous Jo Cheung and Abi Daker’s birdtastic background for this very website. Birds are so beautiful and varied, they burst with life. There’s a special contained freedom to them that must appeal to the creative soul.

Ali and Anna of Two Magpies Find

“I’m obsessed with birds too!” Ali of TwoMagpiesFind told me soon after we first met. It’s not surprising since she is a Magpie herself, wearing a golden bird-table necklace, echoing the lovely birdhouse illustration advertising their next exhibition theme “Home” (email entries here.) The pair met at the Firestation – a local arts centre where Anna works and Ali volunteers – and plan to expand their gallery work both locally and in other areas. Projects like this are so important, where independent venues work together with creatives to organise events that benefit locals and artists alike. Artists often live a magpie existence, ever courting serendipity. We need to support each other and keep on collaborating and getting involved with small projects. It can make the world of difference.

As well as my varied bird paintings, the show brings together Magpie finds illustrator and publisher Dan Prescott of Lazy Gramaphone, who’s intricate designs are both striking and absorbing, beautifully presented as perfect quality Giclée prints, and painter Zita Saffrette, whose landscapes are so full of light and air you’d think they were backlit. In addition the Magpies have displayed some of their own work –beautifully printed photographs exploring stark white juxtapositions on natural scenes (my favourite is of a wedding dress draped across a field), intricate nature paintings and a really striking screen print of two toy horses blown up to poster size.

The café itself is a stunning space, much bigger and brighter on the inside than you would know from the street. It used to be a Puccino’s and still retains the SHUT HAPPENS door signs (I love them). Multicoloured teapots and vases circle the top of the room, making the whole space seem almost that real-estate oxymoron – cosy yet spacious.

May these birds keep flying high into blue skies, and may all arty birds (of a feather) the land over keep on painting those feathered friends.

Amelia’s Magazine came across Anka Dabrowska’s exquisite work whilst perusing Payne Shurvell’s Bright and Guilty Place Exhibition (see Amelia’s Magazine review here). Anka’s drawings result from frequent fact finding missions to Poland’s captial, Warsaw. These delicate graphite studies (complete with uncontrolled graffiti marks) of the city’s geographical elements draw attention to the multiple ways one’s presence can inhabit a city. Amelia’s Magazine interviewed Anka to discuss the relationship played out in her work between Warsaw and memory.

How does the idea of “disparity between one’s personal relationship to, and the collective memory, of a given place” feed into your practice?

My work is about my personal experience of a specific place but it’s not exclusive, it lends itself to collective memory of a given place. Autobiography is represented indirectly or in fragments. The audiences faced with my work bring to it their own experiences of the city, whether it is Hackney estates, kiosks or any other aspects of urban living. My projects are made with specific spaces in mind, the idea grows from the experience of the city and how people live and enjoy public/private spaces.

How does your depiction of Warsaw in the drawings, relate to your artistic practice involving ‘fact finding missions’.

My practice concerns merging ideas of memory and imagination in relation to my upbringing in Warsaw. Domestic and urban landscape is a key focus of my work. Warsaw is somewhere to which I return again and again for inspiration.

I left Warsaw age 13 and moved with my parents and sister to Doha, Qatar in Middle East. This was a huge culture shock for me! I went to international school there where I had to learn quickly how to speak English. I’ve always known that I wanted to make art, to be an artist. After completing my A levels in Doha I applied for scholarships in the UK. I received a scholarship from Oxfordshire School of Art. I therefore left home age 18 and moved to England by myself which yet again was another culture shock!

My practice is solely based on my early experience of growing up in Warsaw’s tower blocks. ‘Fact finding missions’ are about returning to my hometown in order to re-experience these places, document them as they are today and translate this experience into new work (ongoing project). There is an intrinsic connection between a work of art and the environment in which it was created. How I grew up has an enormous influence on the way that I make art now.

Drawing is the foundation of my practice. I see all of my work as drawing or as extension of drawing – whether it is drawing on paper, 3-D object or installation.

Why did you decide to document this relationship through pencil and paper?

My work evolves naturally where it takes me on a journey. I don’t plan my works/ what I am going to draw or what mediums I am going to use. It evolves through experimentation and constant making. It feels right when it’s right, you can’t force these thing. Ideas about making art usually come purely by chance. I am a person who always has to do something. If I cannot do anything, I’m in a very bad way. But really I’m always working on something. And I always want to work too.

What is the relation in the drawings between the graphite pencil and the marks of spray painted graffiti?

Graffiti becomes another beautiful mark-making tool, but it also relates to the urban environment of the city. There is a wonderful relationship between the fine and very controlled line of graphite pencil and almost ‘hard to control’ mark made using spray paint. Graffiti tags are signatures that re-mark the territories and add meanings to the city.

How did the 3D models develop from the illustrations??

Yet, again they just happened one day through experimentation. I see them as extension of my drawing/3-D drawing. I actively collect materials that inspire me but also materials that relate to urban environment. I incorporate my own photographs of Warsaw neighbourhoods to give the works an element of realism and use collage technique spontaneously to create these structures/3-D drawings. I use these various found materials for their textures and colours and see them as yet another mark-making tools. Fabricated from cheap, trashy materials that, like ready-mades, reveal the vestiges of their earlier use, in some places only loosely attached, in others taped together, these pieces are characterized by an extreme fragility.

In most of my works overlaps occur between drawing, sculpture, photography and installation-these are artworks composed of independent elements of information, which in the process of relating to each other generate new meanings.

Could you explain your description of the buildings in Warsaw as claustrophobic?

My experience of living in tower blocks have been claustrophobic due to small living spaces and large numbers of inhabitants. There was never enough space to play, to study, or to just be alone. Most of my 3-D structures correspond to the blocks of flats I was living in at the time.

Because I left Warsaw and moved to Middle East then England I have a constant feeling of being inside and outside, a native and a foreigner. I think it is this sense of in-between-ness, more than the experience of living in blocks of flats that shapes my art practice. The distance allows me to think dialectically about the beauty and tragedy of my surroundings.

What was your experience of studying at Northumbria University?

My two-year part-time MA in Fine Art course enabled me to have an uninterrupted period of focusing solely on my work, experimenting with drawing, sculpture, reading and researching. Unlike London-based MA courses, where groups are too large, my course of 12 people enabled intimate environment for critical discussion, which to me was most valid aspect of that time. However, being proper city girl, I always new deep in my heart that London was place for me! After my MA and one year working at the BALTIC Centre for Contemporary Art I moved here in 2004 and fell in love with the city. London for me feels like true home, more so than any other city I live in!

Which artists or illustrators inspire your work either now or at university?

I find my inspiration from cities, day to day observations of urban living (sitting in coffee shops, making notes in sketchbook, walking/cycling through city). I also find music, literature and film has more inspiration for my practice. I do however visit a lot of exhibitions, a recent show I found very refreshing, inspiring and playful was the Whitechapel Gallery show of Rachel Harrison ‘Conquest of the Useless’.

When did you first pick up a pencil?

Childhood, I always drew from as early as I remember…drawing is something I do all the time, it’s like another language, way of communicating, but it’s also our prime way of communicating, everyone can draw.

Have any writers inspired you on the subject of Memory?

Recent books that inspired me:

1. ‘Estates’, Lynsey Hanley
2. ‘Home’, Alison Blunt & Robyn Dowling
3. ‘Architecture of Happiness’, Alain de Botton
4. ‘Wanderlust- A History of Walking ’, Rebecca Solnit
5. ‘Geography of Home’, Akiko Busch

Where did the idea to draw on paper bags come from? How do you decide what to draw?

One day I picked up a paper bag on the street and scribbled something on it. I got really excited about this new ‘canvas’. It gave me something more than just blank paper to work. Paper bags with their endless forms, colours and textures provided and offered new meanings and possibilities. For me communism meets consumerism in these quirky drawings.

What were the ideas behind the Block House Exhibition?

‘Blockhouse’ exhibition was conceived by Jealous Gallery, Crouch End, London. They wanted to showcase mine and Jeni Snell’s work in a small environment. Therefore my installation become almost like one big sculpture made up of more than 40 3-D structures depicting Warsaw’s kiosks and tower blocks. A cityscape.

A Bright and Guilty Place continues until 24th July 2010.