Alice Twemlow is a research professor at the Royal Academy of Art, The Hague (KABK) and an associate professor at Leiden University where she leads the “Design and the Deep Future"readership. Previously,
Twemlow was head of the Design Curating & Writing Master at Design Academy Eindhoven, and founding chair of the Design Research, Writing & Criticism MA at the School of Visual Arts in New York.
Twemlow writes about design for a range of publications, including Eye, Dirty Furniture, frieze, and Disegno. Her most recent book, Sifting the Trash: A History of Design Criticism, was published by MIT Press in 2017.
Graham Moss stopped teaching twenty-five years ago to become a letterpress printer and maker of books. In 1993 he also began his own research into the life of the German calligrapher Elizabeth Friedlander, publishing Pauline Paucker's biography of Friedlander, 'New Borders, the working life of Elizabeth Friedlander', in 1999. The exhibition of Friedlander's work at Ditchling Museum of Arts and Crafts earlier this year has led to a renewed interest in her life, and his presentation at this conference will focus on the post-war decorative revival, work for Curwen Press and Penguin Books, among other publishers.
University of the Arts London
Dr. Sheena Calvert is an artist/designer/writer. She has an active interest in the intersections between a wide range of disciplines, including creative practices ranging from typography and illustration, to sound and performance. She is particularly concerned with exploring the implications of emergent technologies, including artificial languages and their recent deployment within Artificial Intelligence interfaces. Her background in philosophy of language and ethics provides a critical framework for these investigations. She has a long-standing interest in the materiality and ethics of language (text/speech), including its implications for how we form knowledge (of the world, and of ourselves). Her theory and practice-based research, entitled ‘materialanguage’ explores these concerns.
Alan Powers writes, teaches, lectures and curates. His interests lie mainly in mid twentieth century British art, architecture and design, and especially in the rediscovery and documentation of individuals, groups who have not previously been studied, and hence in the readjustment of the canon. This has been combined with active work in architectural conservation through the Twentieth Century Society. His monographs include the architects Oliver Hill, Goodhart-Rendel and Serge Chermayeff, and artists-designers Eric Ravilious, Edward Ardizzone and Enid Marx. His survey books include Britain in the series Modern Architectures in History (Reaktion Books), 100 Years of Architecture (Laurence King), and the forthcoming Bauhaus Goes West (Thames and Hudson, Spring 2019). He will be the Master of the Art Workers Guild in 2020, and his work as an artist and illustrator is the subject of a forthcoming book, Alan Powers, The Art of an Art Historian (Inky Parrot Press, 2018).
Lotte Beatrix Crawford is a PhD candidate at Coventry University working on a thesis of the designer Enid Marx, in association with the Warwickshire Gallery Compton Verney. Initially she studied Illustration at Kingston University (2011), followed by an MA in Art History at UCL (2015) and has since taught Contextualising Practice to Illustration students at Manchester Metropolitan University (2015-16), Kingston University (2017) and lectured at the University
of Creative Arts, Farnham (2015-2018).
Arts University Bournemouth
Vincent Larkin is an artist and illustrator currently living and working in the South of England. Vincent teaches across BA Illustration at the Arts University of Bournemouth with a focus on integrating theory and practice. In his own practice he works with the form of the book, printed media, web-based media, performance and sometimes song.
Sarah Blair teaches writing and communication skills across a range of educational contexts - including the RCA Pre-Sessional and Hertford College’s International Programme at Oxford University. She was formerly programme leader for MA Drawing for Fine Art Practice at Swindon College and has a PhD on the language of narrative drawing.
Hereford College of Arts
I work nationally and internationally as an artist and academic collaborating with a range of specialists. I communicate and disseminate complex ideas to specialists in the field and to a wide and diverse audience. My current research and focus are to provide a philosophical engagement with science through the lens of an artist by working directly with experts in the field.
A. MATTSON GALLAGHER
University of the Arts London Central Saint Martins
A. Mattson Gallagher is a designer with a multi-form and multi-contextual practice centered on text and typography. He is currently studying MA Graphic Communication Design at Central Saint Martins, and holds a BFA in Graphic Design from the University of Maryland, Baltimore County. His current research focuses on letterpress printing and the intersection of art and design.
Glasgow School of Art
George is an innovation designer and lecturer at The Glasgow School of Art, whose background runs from heritage and architecture to landscapes and participatory practice. As part of the Innovation School, he strives to understand the entanglements of rural Scottish life that are present in the landscape to develop preferable futures in the Highlands and Islands. His research focuses on developing the concept of ‘heritage innovation’ or how our relational concepts of the past influence the creation of the future. He focuses on technical distributed natures of rural networks, dialectic narratives and the unruliness of materialist forms to further a disruptive form of making.
Nottingham Trent University
Danica Maier completed an MFA in painting before receiving an MA in Textiles. Her work uses site-specific installations, drawing, and objects to explore expectations, while using subtle slippages to transgress propriety. Maier is an Associate Professor in Fine Art at Nottingham Trent University, where she runs the Summer Lodge, an annual 2-week artists’ residency.
UAL London College of Fashion
Charlotte Hodes is an artist, researcher and Professor in Fine Art at London College of Fashion, UAL. Solo exhibitions include Remember Me Wolverhampton Art Gallery, 2017; Grammar of Ornament jaggedart & New Hall Art Collection, 2014; Fragmented Images Wallace Collection, 2007 with group shows at the V&A, Design Museum and Venice Biennial.
Norwich University of the Arts
Amy grew up spending summers travelling with a steam fairground and now practices as a traditional signwriter and fairground artist. She is a PhD by practice candidate at NUA working to reestablish the identities of fairground females through constructing an archive as illustrated space.
Anglia Ruskin University
Nerma Cridge is an artist, designer, lecturer and author. Her first book entitled Drawing the Unbuildable, based on her PhD thesis at the Architectural Association on the drawings of the Soviet avant-garde, was published by Routledge in 2015. Nerma is currently teaching History and Theory at the Architectural Association, Interior Design at Cambridge School of Art and running her small art and design practice Drawing Agency. Selected forthcoming publications include Restless: Drawn by Zaha Hadid, chapter in Anthology: Made by Women edited by Ana Sokolina; and Nerma's second monograph on post-communist monuments entitled Politics of Abstraction.
Norwich University of the Arts
Peter Nencini makes architectural models, typographic forms, workshop props and graphic surfaces. He looks for ways in which animals, plants and people navigate each other in degrees of designed space. In collaboration with writers and designers, he has worked on recent commissions with Turf Projects; Eastside Projects Birmingham; Galerie für Zeitgenössische Kunst Leipzig; Walker Art Center Minneapolis and Wallpaper* / Salone del Mobile Milan. He teaches at Norwich University of the Arts – previously at Camberwell College of Arts, Ecole Supérieure d’Art et Design Valence, Sint-Lucas / Vooruit Ghent, St. Brides London, Pratt Institute New York.
University of East London
Bryony Quinn is a writer, editor, lecturer and Contextual Studies module leader for BA Graphic Design at the University of East London. She holds an MA in Critical Writing in Art & Design from the Royal College of Art and studied Illustration at Camberwell College of Arts.
University of Worcester
Desdemona McCannon is the Principal Editor of the peer reviewed ‘Journal of Illustration’ and is on the steering committee of the Illustration Research Network.. Her work as an illustrator and curator often investigates synergies between illustration practice and ‘folk’ arts, incorporating decorative modes of image making, traditional skills, and illustrated narratives that convey the fragmentary and elusive nature of social imaginaries about the past. She is currently a Senior Lecturer at Manchester Metropolitan University, and is about to take up a post as Principal Lecturer in Illustration at the University of Worcester.
Louise is never sure whether she is an illustrator, visual artist, academic researcher or writer. Without doubt is an endless interest in fragments, void spaces, landscape and the finding of stories or meaning in the gaps in-between. Her research and practice explores the interweaving of place, history and memory. She is influenced by W. G. Sebald, Tacita Dean, Deconstruction and Zen aesthetics, as well as the visual language of archaeology and archives.
Louise has exhibited and delivered papers widely including; Mind the Gap: the behaviour of holes in a complex text (Falmouth, 2018), Landscape by Design (Cardiff, 2018); Illustrating Identity/ies (Nancy, 2017); FOMO, (Falmouth, 2017); Shaping the View (Edinburgh, 2016); Sophronia (Falmouth, 2016).
Louise is currently working on a practice-led illustration Ph.D. at Falmouth University funded by AHRC through the 3D3 consortium. Using a historiographic illustration practice to explore themes of aerial viewpoints, mapping, urban trauma, collective reparation and Zen repair principles - her title is Hidden Fractures: Plymouth Illustrated within its Repairs.
University of Falmouth
Laurence North is a Senior Lecturer at Falmouth University where he teaches both studio practice and Critical studies. His current engagement with both Architecture and Illustration is indicative of long-term research interests and a belief in the value of interdisciplinary work.
University of Colorado Denver
Rebecca Heavner worked as a full-time illustrator between 1985-2008, and had the pleasure of working with a diverse selection of editorial, advertising and institutional clients. While she continues making art and illustrations, her time is largely devoted to writing about illustration as she teaches full time at CU Denver. In 2008 Rebecca studied landscape architecture at CU Denver, U.S.A. and practiced landscape architecture in Alexandria Virginia and Boulder Colorado and with a number of clients. She was involved a series of mixed-use design projects, competitions and proposals in Washington DC, Maryland, Texas, Connecticut, and Iowa. In 2012 she was hired by the College of Art & Media at CU Denver to write a curriculum and lead a new program in illustration. Rebecca's research interest involves the intersection between conceptual illustration, landscape and media. She contributed to A Companion to Illustration Wiley Blackwell (USA) 2018. More recently she has become to illustrate again.
Manchester School of Art, Manchester Metropolitan University
Dr. Clinton Cahill leads taught postgraduate courses in Graphic Design and Illustration at Manchester Metropolitan University. He has pursued a fascination with the phenomenology of image and its relationship to the illustration of literature through practice-based doctoral research involving the reading James Joyce’s Finnegans Wake through drawing.
Stephanie is an academic, researcher, and illustrator working at Plymouth University. She has an AHRC-funded PhD from UWE, Bristol focusing on practice led research methods and how the concept of time is a quality of illustration. She has spoken at conferences and exhibited work internationally, and has worked on collaborative music projects combining drawing, film, and animation.
Hereford College of Arts
NICHOLAS STEVENSON and GABRIELLE BRACE STEVENSON
Nicholas and Gabrielle represent two sides of illustration education at HCA: practice and theory. Nicholas is an award-winning freelance illustrator who teaches illustration practice. While Gabrielle is a writer and lecturer who teaches Critical Studies to those same illustration students.
University of the Arts London London College of Fashion
Lynne is a handwoven textile designer and creator and a trained scientist, who works at the intersection of art and science. Coming from at least seven generations involved with the weaving trade in the north-east of Scotland, weaving is in her DNA. Lynne’s background in human genetics research inspires designs based on data – a natural synergy with weaving, the technique that is a precursor to digital technology. Lynne first learned to weave using a backstrap loom in south east Asia, and is huge fan of applying “heritage” techniques to create contemporary textiles, both for exhibition and for sale.
Anglia Ruskin University
Jennifer Nightingale graduated from the MFA at the Slade School of Fine Art and currently lectures at Anglia Ruskin University, Cambridge and as a visiting lecturer the Royal College of Art, London. Nightingale’s films have been cited in Nicky Hamlyn’s book Film Art Phenomena published by the BFI in 2004 and David Curtis’ A History of Artists Film and Video in Britain by the BFI in 2007. They have been screened at various international venues including the Serpentine Gallery, London; Tate Modern, London: The National Portrait Gallery, London; The Lux, London; and The Film-Makers Cooperative, New York.
University of Westminster
Christine McCauley is an interdisciplinary artist and educator who graduated in Illustration at the Royal College of Art and Design at Liverpool College of Art.
Her most recent work is in book arts and letterpress printing. She was awarded Special Merit Honoree at the Minnesota Center for book Arts Biennially in 2017, has shown work at Offprint at Tate Modern and had work featured in Parenthesis, the journal of the Fine Press Book Association.
On going themes in her work are the telling of alternative histories, the impact the past has on the present, the relationship of time and place, identity, memory and the interaction of cultures.
Edinburgh College of Art
Lucy Roscoe is an Illustrator who uses drawing and printmaking to make sculptural books that play with the way stories are told and what a book can be. Lucy teaches Illustration at Edinburgh College of Art and also collaborates with public collections to engage visitors through resources and workshops.
Edinburgh College of Art
Jonathan Gibbs makes illustrations for books, design briefs & editorial texts. All of these take the form of wood engravings and he has designed patterns for the Judd Street Gallery, Faber & Faber, Folio Society, and St Jude’s. Usually, these designs are engraved on small pieces of end-grain boxwood to be printed by hand-burnishing. Jonathan Gibbs is a painter and printmaker whose work has been purchased for the Arts Council, Scottish Arts Council and the UK Government collections. He exhibits regularly in London and Edinburgh. Jonathan Gibbs is represented by the Central Illustration Agency, London and is Programme Director in Illustration at the University of Edinburgh. www.jonathangibbs.com
London College of Communication
Ian Horton is Reader in Graphic Communication at London College of Communication, University of the Arts London. He has published work on: oral history and text-based public art; colonialist stereotypes in European and British comic books; the relationship between art history and comics studies; public relations and comic books.
His present research is focused in three related areas: experimental typography, Dutch graphic design and comic books. He has presented conference papers on self-published comic books and creative freedom; experimental typography and curatorial practices; information design and graphic narratives. Hard Werken: One for All (Graphic Art & Design 1979-1994) [co-authored with Bettina Furnee] is the first academic study of this influential avant-garde Dutch graphic design studio, was published by Valiz in March 2018. He is co-editor of two forthcoming books Contexts of Violence in Comics (Routledge 2019) and Representing Acts of Violence in Comics (Routledge 2019), and is Associate Editor of the Journal of Graphic Novels and Comics.
Michael Kirkham has been illustrating and teaching since graduating from Edinburgh College of Art in 2006. His clients include The New Yorker, The Guardian, Google and Faber and he is represented in London and New York by the Heart Agency. A consistent theme in his commissioned and personal work is the relationship between people and the spaces they occupy.
Dr. Bill Prosser was an illustrator. His work has been exhibited in Europe and the USA, and he has been awarded a number of research positions, including Leverhulme Senior Research Fellow at the University of Reading and Andrew W. Mellon Research Fellow at the Harry Ransom Center, University of Texas. He is currently a Centre Fellow at Regent’s Park College, University of Oxford.
My multi award-winning practise includes illustration, painting and teaching. I have worked successfully across a range of commercial and fine art contexts since 1994. I exhibit internationally, most recently in Barcelona, London and New York. Recent content includes ‘men & miscarriage’ and ‘Home front: kaleidoscope of the mundane’, exploring contradictory positive daily struggles.
University of Delaware
ROBYN PHILLIPS PENDLETON
Phillips-Pendleton is a Newark, Delaware based artist, illustrator, and designer, who earned her BFA from VCU, and her MFA from Syracuse, University. Her work has been featured in national and international illustration and fine art venues. She is an Associate Professor of Visual Communications at the University of Delaware, and is a United States Air Force artist.
Adrian is a teacher, writer and artist. He is a Lecturer on the BA Hons. Illustration course at Camberwell College of Arts, UAL, where he leads the humanities / critical theory aspect of the course – he is currently taking a year's sabbatical leave from Camberwell to pursue his research. Adrian is an associate editor on the Journal of Illustration, and member of the Illustration Research steering committee. Adrian is an Associate Lecturer on the MA Art and Science, Central Saint Martins, and his cross-disciplinary background encompasses biology, fine art and information science. The relationship between art, science and illustration is central to his research and he chaired and co-curated the 4th International Illustration Research Symposium ‘Science, Imagination and the Illustration of Knowledge’ at the Oxford University Museum of Natural History and Pitt Rivers Museum (2013). Other research interests include alchemy, Romanticism, and the relationship between the human and technology. In teaching, he works to create productive relationships between 'theory' and practice, including ways in which critical methods stimulate and support creative work. His art practice extends across drawing, installation and performance, and he also works as a commercial copy writer and editor.
Prince's School of Traditional Arts/ UAL Camberwell
I am an artist, designer and educator specialising in the creative exploration of geometry, with a particular focus on Islamic geometric pattern. As well as my own interdisciplinary practice, I teach drawing courses in ruler and compass construction of Islamic patterns at the Prince’s School of Traditional Arts (PSTA) in London and internationally, as well as teaching digital media skills on the Foundation Art & Design course at Camberwell College of Art.
09.00- 09.30 REGISTRATION AND COFFEE
09.30- 10.00 WELCOME FROM IR AND ARU
10.00- 11.30 PLENARY SESSION
DECRIMINALISING ORNAMENT CHAIRED BY SHEENA CALVERT
A 1.1 GRAHAM MOSS Elizabeth Friedlander
A 1.2 BETH HUGHES Criminal Ornamentation: Yinka Shonibare MBE curates the Arts Council Collection
A 1.3 VINCENT LARKIN History as Decoration in the contemporary image
11.45- 13.15 PARALLEL SESSIONS
SESSION A2 ORNAMENT AND LANGUAGE CHAIRED BY BILL PROSSER
A 2.1 SHEENA CALVERT Coded Ornament: Information as Pattern and Pattern as information
A 2.2 SARAH BLAIR The ornament of grammar
A 2.3 CLINTON CAHILL The Florescent Word: Kells and the imaging of the Wake
A 2.4 BILL PROSSER Meandering in the Margin
SESSION B2 ORNAMENT AND THE HANDMADE CHAIRED BY JONNY GIBBS
B 2.1 STEPHANIE BLACK Fibs and fripperies: references to the real in digital illustration
B 2.2 MATTSON GALLAGHER Specimens of labour Printers ornaments, the letterpress workshop and the ‘Machine Art’ exhibition at MOMA (1934)
B 2.3 NICHOLAS STEVENSON and GABRIELLE BRACE STEVENSON Digital Decompostion: Faking the Physical
13.15- 14.00 LUNCH
(Heffers bookstand open)
14.00- 15.30 PARALLEL SESSIONS
SESSION A.3 SENSORIAL ORNAMENT CHAIRED BY STEPHANIE BLACK
A 3.1 GEORGE JARAMILLO and LYNNE MENNIE Aural Textiles: From sound to pattern
A 3.2 DANICA MAIER Looking Again: A Performative Lecture
A 3.3 JENNIFER NIGHTINGALE The Cornish Knitting Pattern film series
SESSION B3 GENDER AND ORNAMENT CHAIRED BY AMY GOODWIN
B 3.1 CHARLOTTE HODES Women as Ornament?
B 3.2 CHRISTINE McCAULEY Doyennes of Decoration
B 3.3 FOZ FOSTER Meaningful Decoration
15.30 -16.00 BREAK
(Heffers bookstand open)
16.00- 17.00 KEYNOTE
ALICE TWEMLOW The Politics of Pattern CHAIRED BY NANETTE HOOGSLAG
17.00 EXHIBITION PRIVATE VIEW
19.30 DINNER (OPTIONAL- PRE-BOOKING ESSENTIAL)
09.00- 10.30 PARALLEL SESSIONS
SESSION A4 ORNAMENT IN PRINT CHAIRED BY CLINTON CAHILL
A 4.1 LUCY ROSCOE A thing to hold: the visual language of the book form
A 4.2 JONATHAN GIBBS Designs and Devices: reflecting upon end papers, flyleaves and the decorative border
A 4.3 IAN HORTON Hard Werken: Criminally Ornamental Design
SESSION B4 ORNAMENT IN SPACE CHAIRED BY ADRIAN HOLME
B 4.1 AMY GOODWIN Signwriting: Ornament as Visual Language - Communicative Decoration
B 4.2 NERMA CRIDGE The Decorative Turn [in architecture]
B 4.3 PETER NENCINI Bevels, Bypasses a practice led presentation
10.45- 11.45 KEYNOTE
ALAN POWERS CHAIRED BY DESDEMONA MCCANNON
12.00- 13.30 PARALLEL SESSIONS
SESSION A5 PATTERN AND PEDAGOGY CHAIRED BY PETER NENCINI
A 5.1 BRYONY QUINN Ornament and Education
A 5.2 DESDEMONA McCANNON ‘Patternisation’: Decorative design pedagogy in print 1920- 1960
A 5.3 HOWARD READ The Stones of Venice: Ornamentation and Ruskins legacy on British visual culture
SESSION B5 ORNAMENT AS PARATEXT CHAIRED BY GEORGE JARAMILLO
B 5.1 MICHAEL KIRKHAM Reconciling Doodling and Illustration
B 5.2 JO BERRY Ornament and (inside) the body
B 5.4 LOUISE BELL The Damage that Decorates
LUNCH 13.30- 14.30 pm
14.30- 16.00 PARALLEL SESSIONS
SESSION A.6 ORNAMENT AS NARRATIVE CHAIRED BY SHEENA CALVERT
A 6.1 LAURENCE NORTH Narrative form and the creation and subversion of architectural ornament
A 6.2 REBECCA HEAVNER Harvesting Ornament: Methods for Aligning Landscape with Character
A 6.3 ROBYN PHILLIPS PENDLETON Building Narratives using Ornament
A 6.4 SARAH HORTON The Decorative Graft: negotiating the workplace through decoration, pattern and ornament.
SESSION B6 CULTURES OF PATTERN CHAIRED BY VINCENT LARKIN
B 6.1 ADRIAN HOLME Ernst Haeckel: nature as ornament
B 6.2 AMEET HINDOCHA The development and application of a geometric lexicon of pattern
B 6.3 JAMIE MILLS The Edge of the Sea: complexity, layering and gesture as analogy and meaning
INFORMAL PLENARY DISCUSSION
INFORMATION ABOUT PREPARING ARTICLES FOR PUBLICATION IN THE JOURNAL OF ILLUSTRATION