• Big_bear

    Big Bear

  • Dungeness_book_3

    Dungeness Drawings

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    Dungeness Drawings

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    Dungeness Drawings

  • Dungeness_book_6

    Dungeness Drawings

  • Dungeness_book_1

    Dungeness Drawings

  • Human_cover

    Human (adj.)

  • Animals_fighting

    Human (adj.)

  • Fox_screenprint

    Human (adj.)

  • Human_lion_1

    Human (adj.)

  • Human_bear_1

    Human (adj.)

  • Human_bee_1

    Human (adj.)

  • Human_bee_2

    Human (adj.)

  • Human_lark_1

    Human (adj.)

  • Human_ox_1

    Human (adj.)

  • Lithograph_storm_lion

    Human (adj.)

  • Portrait_2

    Portraits

  • Portrait_5

    Portraits

Illustration

The Graduates 2011: Sarah Maycock

Posted by Bryony Quinn,

After a “tough two years” at a boy’s grammar school and one more in Brighton City College, Sarah Maycock arrived at Kingston University to study Illustration and Animation. Her work, with its painterly details and canny knack for character, is an excellent amalgamation of her meanderings between the fine art and illustration studios back in Brighton, and a very special ability for obsessive mark making “mixed with total order.”

Kingston posed her the opportunity to “take charge of my artist’s temperament with some nice shiny briefs.” And she certainly channelled that nature into quite a number fascinating projects. Examples being a book of Dungeness drawings and some accomplished sketchbooks showing her to be a quick and able reportage illustrator, while a book on animal similes reveal an extraordinary explanatory power to the hasty lines and use of colour. Lovely stuff.

If your portfolio was on fire, and you could only save one piece/project, which would you choose, and why?

It’s too big to fit in my actual portfolio, but it would have to be the Bear painting I made for my final exhibition. I stood/sat/lay/crawled on the paper to paint him, so he and I are quite intimate now.

If you could collaborate with another artist/designer (or a number of artists/designers) to make a piece of work, who would you work with and what would you make?

I don’t know if this is a project as such, but I would love to play the drawing game, “Consequences” with Hieronymus Bosch, Egon Schiele, Thom Yorke, and Henri Matisse (to name a few, this list changes every time I try to think about it). The quality of drawing, conceptual thinking and surreal imagination would be mind blowingly inspirational. All condensed into folded drawings of figures. And maybe Denys Fisher (the man who invented Spirograph) so we could make an incredible painting machine.

What was your finest moment at art school?

Three come to mind. I was recently invited to Ken Garland’s studio, that was brilliant. Or the end of year show at the Red Gallery. It felt like my first “real” thing. I worked with several others on the identity, which was a huge responsibility, but such a good experience. I think it’s given me a taste for art direction. Oh, I also invented the term “tug of war seesaw” and used it in the conclusion of my dissertation.

We believe it was the Jonas brothers who once said “we’re the kids of the future.” How, if at all, do you relate to that?

I don’t feel like a kid anymore, I think I have aged about twenty years in the last six weeks or so. As for relating to the Jonas Brothers, I’d rather not. I have a real thing about men who look like they preen their eyebrows more than I do.

Can you give us ONE prediction about you and your work for the next year?

I will move home for a little while and work in the local pub, which will be a reminder that the world doesn’t (always) revolve around paper gsm and colour space and pagination, all the while exploring my interest in portraiture and paint.

Portrait9

Posted by Bryony Quinn

Bryony was It’s Nice That’s first ever intern and worked her way up to assistant online editor before moving on to pursue other interests in the summer of 2012.

Most Recent: Illustration View Archive

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    The London-based French illustrator Malika Favre has had another big year, adding even more breadth to her already impressive portfolio of work. In the summer she was invited to Tenerife by a Spanish design collective called 28ymedio to take part in its Illustrated Journey project, which aims to “help fight the economic crisis in Spain by promoting the Canary Islands and bringing a new stream of tourism.”

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    You can do a lot in a year, I’m told, and proof if any was needed comes in the form of Cynthia Kittler. Just last year we listed her as one of our Students of the Month for her “kind, quiet illustration,” and checking by her website again this year I found that not only is she no longer a student, but she’s being regularly commissioned by the likes of The New York Times and Die Zeit magazine for editorial illustration which is not only as quiet and kind as it was last time we checked in, but also incredibly resonant now.

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    In Dayoung Cho’s illustrated world, it’s the Goblin Olympics and the bunny’s on top. Tumbling top-to-tail with the tiger, it’s cheered on by an amorphous cyclops whilst a duck-billed platypus and rhino await their turn in the ring.

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    We love Thomas Slater. We love how he manages to dollop a fat helping of fun to subjects from art school to financial advice, how he so accurately distils the defining characteristics of his subjects in one fell swoop, and how his work offers a universal joy which makes him appealing for near on every audience imaginable.

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    One of my teachers had a pet hate of adverbs and adjectives. “Cut the fluff!” he’d yell after reading our essays. Emi Ueoka’s delicate drawings illustrate his point perfectly; why use more lines when a few create so perfect a picture?

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    When it came to designing the second billboard for our ongoing partnership with London Graphic Centre, Jack Hudson seemed the obvious choice. Ever since we came across his work four years ago and swiftly swept him up into our Graduates class of 2010, we’ve watched with awe as Jack’s career has gone from strength to strength. He has a supreme ability to make communicative images still steeped in charm and personality, and so we knew he would rise to the challenge of our broad “back to school brief.”

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    It’s all well and good making art and illustration that focuses in on humdrum observations of our meagre existences, but wouldn’t you rather have a whole bunch of images that dip their toes in the sci-fi pool of chance and dance through the stars on pronged, mythical wildflowers? I know I would, which is why I’m particularly pleased with stumbling across the work of Singeon, a French illustrator whose horny, mythological drawings and paintings are like an ever-changing ecosystem, ranging from small watercolour doodles of food (standard) to double-headed medieval babes in outer space (not so standard). He’s part of team Flickr, so if you like what you see here I urge you to go and check out even more of his work over here on his page.

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    Switzerland-based artist Pascale Keung makes delightfully diverse work which is inspired by her chosen country’s stunning natural landscape as often as it is by wild fantasies. This series Muttsee is an example of the former, a collection of images about “a very special place in the Alps of Switzerland” where she goes to fish with her friends from time to time.

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    The artist known as José Ja Ja Ja not only creates damnedly detailed drawings and works as Professor of Illustration at the European Design School in Madrid; he also brews beer. Unfortunately, as I have yet to sample SALVAJE, I’ll have to laud the brilliance of his illustrations instead.

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    If you’re concerned that your bookshelf is starting to look bit run-of-the-mill then allow us to present you with a new publication to blow the others out of the water. Eventually Everything Connects is a new publication by Loris Lora, published by Nobrow, illustrating the largely unknown but absolutely fascinating commonalities which joined many of the architects, designers, filmmakers and photographers working in southern California in the Modernist era.

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    I’m all for embracing new modes of experiencing literature, but when choosing to read novels on an iPad or tablet requires that you select a dull digital alternative cover – one with a hunk of Helvetica slapped thoughtlessly over a low-res image, or similar – I can’t help by find myself reaching for a paperback. Fortunately publishers like Frenchies Les Livres Mouvants are a step ahead of their game, commissioning beautiful books covers for their digital reads which will even out the playing field.

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    Say welcome, one and all, to Noam Weiner. This Israeli illustrator’s recently ramped up her editorial work, illustrating for several national newspapers and magazines, often with a political or satirical bite. In an illustration for an article on criticism, she cleverly combines a deal with the devil with a hearty dose of mutual back-scratching to make a point about the tangled relationships up the tower of power. We prefer her work at its most minimalistic, when she conveys maximum meaning. Of her older work, the simplicity of her comics version of the classic kids’ adventure book Hasamba is captivating.

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    The work of Brian Edward Miller is a cross between the digital and the retro: his sketches could easily be found in the satchel of a 1950s art student, but when put into the computer and twiddled with they look just as at home in a high-tech animation for a company like Adobe. “My goal is to provide quality illustration and storytelling with the professional hard working ideals my family modelled to me and to chase down that elusive vintage aesthetic which played such a powerful role in my childhood,” Brian states on his site. Judging by the list of people who have commissioned this guy of late, it seems like we’re not the only ones to find his work impossible to look away from.