The Edge book 2026 Falmouth University Illustration BA

Introduction

Once again Falmouth University’s BA(Hons) Illustration course proudly presents the work of its Final Year students!

How might one interpret the theme of the ‘Edge’? For some it might imply danger, for others it might mean a boundary or border. Some might understand it in metaphorical terms, whilst others might think of it in a more literal sense….

This year’s edition of ‘The Edge’ is a collection of creative visual ideas, that celebrate the power of visual storytelling. This project showcases the work of our third year BA Illustration students who have explored the theme of the ‘Edge’ in all its possibilities. In doing so they have also explored the boundaries of their own visual language—experimenting with technique, medium, and message.

The choice of the ‘Edge’ as a theme is no coincidence. Each graduate has reached a key moment in their development as a creative and stands at a point where their future as a professional illustrator stretches out before them. This book showcases the amazing potential that this year’s Falmouth Illustration students offer to the visual communication industry.

This year we are proud to have the support of St Austell Printing Company who have not only done an amazing job of printing the book but have also sponsored the project. We would encourage you to visit their website at sapc.co.uk

Nigel Owen Course Leader

Freddi Wright

freddimwright@gmail.com

+44 (0) 7710 802 523 freddiwright.com @freddiwright

The battlefield falls silent. On the edge of glory, the victor finds himself alone.

Within tarot reading, the Magician Arcana represents resourcefulness, wisdom and materialisation. It is a call to action when at the precipice of change and creation. What we learn from the past enables us to transform our present and future.

saturdaysimms@outlook.com saturdaysimms.co.uk @saturdaysimms_artist

Aisha McIsaac

HyperObelisk@outlook.com hyperobelisk.top

 HyperObelisk  @hyper.obelisk

With an effervescent twine, dancing the steps to emancipation, while fingertips glide across something new. The fear of falling never ceases, but the warm glow calling is irresistible.

On the edge of reality and folklore lies the Selkie. Hidden in mysterious moonlit waters she approaches the shore with caution, hiding her skin so as not to be discovered.

skyee.andrews@gmail.com

+44 (0) 7469 788 980 skyeandrews.com @skyedrewss

Jess Lila Wood

+44 (0) 7865 654 307 natskingdom.co.uk @halotrop3 The interface between fantasy and reality is where our deepest desires and fears first infect us. Shut them out and wither away or let them in and know no peace.

natalie.king989@gmail.com

Syd.cumming@outlook.com +44 (0) 7500 047 267 sydneycumming.com @Sydn.eycg

A scene from La Sylphide. On his wedding night, Farmer James must choose between his human fiancé or the forest spirit he has fallen in love with – appearing at his window as a bridge between the earthly and spirit worlds.

Elliot Quick

If you understand most of the words in this narrative using context, then you have done in microcosmic form all that is needed to acquire a second language (unless you’re a Hispanophone. That’s cheating). We don’t learn languages; we pick them up when we understand messages. This is called Comprehensible Input.

enquick@protonmail.com

+44 (0) 7871 836 893

elliotquick.com @elliot_quick

Sophia Demetriou

meetriou@gmail.com

+44 (0) 7703 624 967 sophiademetriou.co @meetriou

What was intended to be a calm puzzle night amongst friends, turns to blame, as a missing piece causes chaos to unfurl and pushes them to the edge of insanity.

Emily Maclennan

No longer rooted in the simplicity and familiarity of childhood; but not yet settled into navigating the uncertainties of independence, change, and transition. Between two places in the world, where neither feel quite like ‘home’.

emilymacartist@gmail.com emilymac.co.uk @emilymacillustration

lyneeve.art@gmail.com

+44 (0) 7925 578 917 eve-lyne.co.uk @_lyneeve

Feeling on edge as the days blur together. A countdown to the end of the academic year.

Mhairi Carpenter-Turner

“I look like a pencil”

“It’s cool”

“It’s not cool”

“It’s edgy”

“It’s unsalvageable”

“Claire, it’s French!”

Fleabag, 2016

Adekunle Taiwo

The process of colouring-in is truly one of the most mindful activities a person can treat themselves to; getting lost in a detailed fantasy may be a freeing escape from the pressures of the everyday.

kunleash11@gmail.com

+44 (0) 7546 158 207 adekunleashtaiwo.com @kunleash94

Soizic Reaney

soizicldreaney@gmail.com

+44 (0) 7487 817 411

soizicreaney.co.uk @_lilinkz

The Edge of Womanhood. There comes a time in every young girl’s life where she makes the transition from innocent child to blossoming woman. Damned to yield to her lunar cycle again and again and again.

Evie Mercia

We are creatures of perpetual transition, shifting between states like sand on a beach. Why should our bodies end at the skin? The same air that fills our lungs lifts the birds’ wings. We are not solid; no part of us has ever been permanent. Even our bones are porous.

emercia.hw@outlook.com

+44 (0) 7597 367 909

eviemercia.co.uk

@evie.mercia

Katherine Hughes

Kathhughes40@gmail.com

+44 (0) 7543 485 900 khughes.art @khughes.art

The metamorphosis from human to machine doesn’t come without a cost, as you eventually lose your soul, individuality, and your freedom in the pursuit of perfection.

Lara Vezir

Womanhood is defined through a constant chase of imposed femininity. Always in the state of becoming. Digital platforms create an impossible goal by maintaining a culture of equating value to physical beauty before an individual’s narrative can finish forming.

Vezziv.lara@gmail.com

+44 (0)7943 195 733

Vezziv.co.uk

@Vezziv

Elsie Warren

elsie_illustrations@outlook.com

+44 (0) 7941 575 712

elsie-illustrations.com

@elsie_illustrations

This self-portrait shows my unique perspective as a transgender and neurodivergent individual; I intend to use this contrast to better understand the world around me.

Thomas Butters

Through our ever-evolving relationship with books the outer edges allow us to see them through a different world. The external construction is our introduction to stories; narratives that help us migrate our minds to innovative ideas.

Thomas.r.butters03@gmail.com

+44 (0) 7856 042 851

ThomasRButters.com

@Butters_boyy

lilyfry@outlook.com

+44 (0)7741 462 856

lilyfry.com

@lilefri

The Fool represents new beginnings, encouraging a leap of faith into uncertainty.

Isabela Blanchfield

Whilst Apple dominates as the industry standard for creative professionals, men, women and children endure horrific conditions in the DRC, mining cobalt for lithium batteries, inviting us to reconsider connotations of innovation and modernity.

isabelablanchfield@gmail.com

+44 (0) 7510 919 538

isabelablanchfield.co.uk @isabelablanchfieldart

Chloe Hutchinson

clova.illustration@gmail.com

+44 (0) 7989 593 098

clovaillustration.co.uk

@clova.illustration

At the threshold of transition, she gazes outward from the edge of opportunity, where possibilities become perceptible but remain beyond the present moment.

Dania Humida

Vampires exist on the edge of humanity and other, representing the internal conflict of holding onto humanity while having experienced a violent, unwanted change. They symbolise those in our society who have been through abuse and are forcing themselves to remain passive despite trauma.

DaniaHumida45@gmail.com

+44 (0) 7306 160 876 readymag.website/ u338803652/6101727/ @postart3m @postartem

Ani Hooton

toweringfowl@gmail.com

+44 (0) 7469 240 792

@ahillustrations toweringfowl.crd.co

Generative AI is all consuming; threatening the creative industries, devouring our resources and stealing our beloved creations, only to produce lifeless, sterile results. True art has humanity - so it’s our duty to keep it that way.

Boundaries and hedgerows divide the rural Cornish landscape. Transition from wild to tamed nature is often by granite steps. Access for people to pass, enjoy and experience.

art.joshuajones@gmail.com

+44 (0) 7307 850 127 joshua-jones.co.uk @jonesjoshua_

phialillso@gmail.com

+44 (0) 7986 614 597

phialill.com

@phiaphophum

The edge of one country can’t be visualised in nature. People can cut up the land, but nature remains the bigger picture.

Pawing silently through whispering alpine grasses and curling heather, the snow leopard exists in a terrain so far removed from you and me it’s almost alien. But under twinkling stars and soft moonlight we all share this extraordinary world.

Lucylouart24@gmail.com

+44 (0) 7359 389 664 lucymessage.com

@Lucymessage_

Kenny C. Ryan

kennyryanwork@gmail.com +44 (0) 7949 440 165 sites.google.com/view/kennyryanartportfolio/home @k.r.art.2022

Adventure Awaits the Creator

Symbolizing the journey ahead, transitioning from university into the real world of work. The forests and cliffside represent where we’re coming from and the vast horizon indicates the expansive plain of the unknown.

Inspired by the unsettling feminine – a metaphor for puberty and coming of age.

olivejhall24@gmail.com

+44 (0) 7543 647 184

olivejhall.co.uk @oliv.eillustrates

Lily Bokor

Lily.bokor@outlook.com

+44 (0) 7469 811 099

Lilybokor.co.uk

@lilybokor.art

In their wings, she saw a reflection of herself she could not accept. She slaughtered them, unwilling to change, and sat with the consequences of her resistance, edging closer to the very reflection she sought to destroy.

Summer Ford

A black hole is a celestial body brought about by the deaths of massive stars. The edge of no return is called the event horizon, from which nothing can come back.

Summer098ford@outlook.com

+44 (0) 7562 100 545

summerfordillustration.cargo.site/ @steampunk_corgi

Sam Coates

samcoates2005@gmail.com +44 (0) 7401 139 375 sacoatesart.com @sacoats

Another war has destroyed any hope of a ceasefire. Desperate soldiers abandon their old gods and turn their worship towards a Gun God. They pray to one of its oracles, begging for fortune in battle. Their prayers fall on apathetic ears.

20:00pm Dec 12th 2009

ITV1 - The X Factor Live Final - And the Winner is… Exploration of audience suspense through my childhood memories of adoration for Olly Murs during The X Factor.

mollyallix@gmail.com

+44 (0) 7876 826 565 mollyallix.com @molly.allix

Daria Smith

+44 (0) 7578 305 274

As high-streets close, and young people move out, many towns have been left on the edge of abandonment. Despite this, these places still have a soul to be discovered, found with the people who call them home.

Carys Webber

Rejoice us

An oppressive dynamic between superior and subordinate, where a forced assimilation and abuse of hierarchal systems is exploited, and teeters on the edge of complete political fallout.

webbsweavingillustration@gmail.com +44 (0) 7368 971 115 webbsweavingillustration.carrd.co. @webbsweaving on Tumblr webbsweaving@bsky.social

William Brockbank

Wbrockmann4@outlook.com

+44 (0) 7701 389 861

willbrockbankillustration.co.uk @willb_art

In Russian folklore, the upir is a monster come back from a ‘bad death’ to feast on humankind. Since Napoleon’s invasion in 1812, locals have seen dead Frenchmen getting back up again, with a hunger in their eyes…

Millie Griffiths

It was the belief, Of one particular thief, That he could never be caught No matter the riches he sought. It all came crashing down When he left his small town, And tried to steal from the king.

art.by.gwynn@gmail.com

artbygwynn.co.uk

@art.by.gwynn

Amber Wright

“Soar”

Through the storms and tidal waves, one must meet the edge with a smile and embrace the challenges ahead.

Oliver Sampson

When

Owsampson@gmail.com

Felix Goldie

@illithid.illustrations@gmail.com

+44 (0) 7763 745 088 felixgoldieillustrator.cargo.site @illithid_illustration

The last known Thylacine, or Tasmanian Tiger, died alone in captivity on 7th September 1936 after the species was pushed to the edge of extinction by European settlers who wrongly believed they were responsible for killing livestock.

kalirowan.illustration@gmail.com

kalirowan.co.uk

@by.skalrose

Maja Demidowicz

md.demistudios@gmail.com

+44 (0) 7454 393 3943

md.studios.uk

@md.demi

The edge of reconnection

“Animals are the bridge between us and the beauty of all that is natural. They connect us back to who we are, and to the purpose of why we’re here” Trisha McCagh

Following the butterfly through metamorphosis, moving from the end of an old life to the beginning of a new one. Moments lingering on the edge of transformation.

Megcillustrates@gmail.com

+44 (0) 7517 280 304

Megillustrates.co.uk @megcillustrates

Kirsten Cryer

kirsten.cryer@gmail.com +44 (0) 7730 163 675 kirstenhope.co.uk @_kirstenhope_

Across the world, cities are introducing “bloodless bullfighting,” a step towards animal welfare. Still, many cling to violent traditions, caught on the edge between progress and performances of the past.

Tegan Wellard

The edge of letting go, struggling to move on from something harmful or that you have outgrown, she reaches back, her hair wrapping around her hand to pull her back as the chain tethering her finally snaps.

tobytemplemanart@outlook.com

+44 (0) 7377 549 731

tobytempleman.co.uk @tobytempleman.art

Who will win the race to claim Boudica as their own? Boudica; How Present-Day Politics Changes the Past by

Jenny Drapper

Ivy Mahachi

A girl on the verge of dropping off Mosi-Oa-Tunya waterfall, with her hair already halfway down. Not wanting to see what future awaits her, praying for the best; the spray from the water clouding her view.

Dgmahachi030@outlook.com

+44 (0) 7395 275 632

ivymahachi.uk @ivesdgm

Jacob Miners

jzminers1@gmail.com errantiary.art

+44 (0) 7853 399 966 @errantiary

On the edge of mastery, you duel - but you always were good at staring contests. A player casts the spell ‘Staredown’. A work-inprogress tile-based board game about wizards and adventure in a sentient jungle.

Jade Pavey

“I am walking the edges of what was, where memory meets the present, and every step feels like a question without an answer. I move forward, yet I am still here. Edges are strange things, they teach you to balance.” - Makitia Thompson

jadepavey.illustration@gmail.com

jadepavey.co.uk

@jadepavey.illustration

applegateizzy@gmail.com +44 (0) 7568 454 275 izzyapplegateillustration.com @i.applegateart

This piece shows the calmness that can emerge during a sea swim. Proven to be helpful with panic attacks, cold water swimming has massively helped me to cope with my anxiety throughout university.

People are always making assumptions, but maybe we don’t need to, and friendship is just on the edge of the assumption.

hollyreidillustration@gmail.com

+44 (0) 7548 911 541 hollyreidillustration.co.uk @artyfartyholls

elinjmorgan@outlook.com elinjmorgan.co.uk @elinjart

Don’t worry, there’s plenty more fish in the sea! Exploring the perils and absurdity of online dating.

Ella Davey

The beast wanders though the edge of the forest. The silence of the night. Creatures are asleep, the only noises are the pitter patters of the beasts’ feet.

Elladavey958@gmail.com

@Hellohydrangea_

Oliver Neil Chorlton-Stansfield

stansfieldollie@gmail.com

+44 (0) 7428 149 008 oliverstansfield.co.uk @redhouseoveryond3r

Traditional cooking is in constant flux, pushed and pulled in different directions. It’s down to taste. Beef tartar and prawn toast, foie gras in a doughnut, salt and vinegar crisps with grilled lobster and bearnaise, yes please!

megan.thomas110.com @17thomas12 Punk Rock revolution fighting for anti-establishment and challenging social norms. A struggle that continues to this day.

Megan.rose.thomas110@outlook.com

+44 (0) 7435 285 029

Izzy Connell

Izzyc.illustrates@gmail.com

+44 (0) 7547 136 882

Izzyillustrates.co.uk

@izzy_illustrates_

When an autistic person is on the verge of a sensory overload, there are many things that can send them over the edge. Their senses may start to overlap, causing them to feel distressed and overwhelmed.

“He’s one of those real fringe-types” “Flat-earther?”

“Yeah, thinks this is the edge of the world, that the ocean’s gonna break open and eat us or something… Just ignore him”

maldowling.art@gmail.com

+1 (510) 882 2160

maldowling.com

@maldowling.art

Ethan Smith-Scotland

esmithscotlandart@gmail.com

+44 (0)7426 944 400 ethanzworld.com @_ethanzworld

At the edge, pages flex, spines bow, rooms tilt. Margins open fault lines, ink wraps senses and stories lean outwards, teaching us to stand between worlds. Where belief reshapes what we see, and reality learns to bend.

Sasha Parchman

Soaring to New Heights Metaphorically

Leaving the comfort of home behind, embracing independence, and bravely soaring toward new possibilities, growth, and selfdiscovery as life opens into wider horizons.

Sashaparchman27@yahoo.com

+44 (0) 7949 439 974

+1 (345) 917 6773

sashaparchmanillustration.com @art__bysasha

vinnyonscreen@gmail.com

+44 (0) 7596 925 968 vinnyonscreen.com @vinnyonscreen

The scarecrow has become the crowscared… Or would it be scaredcrow?

“I’ll join you in a minute.”

Looking out at the chaotic crowd of people, she finds herself stuck between the archway of two different rooms. She is an ambivert, somewhere between an introvert and an extrovert.

rheahaynes.contact@gmail.com

+44 (0) 7759 122 707

rheahaynes.com

@rheahaynescreative

tom.pavey@icloud.com tompavey.co.uk @toomachek

Smorg loves tending to his garden, but the gravitational challenges that come with being on the edge of space can get a little annoying…

James Michał Korytowski

When treading through uncertain waters, look outside the box, past the edge of the canvas, and learn to appreciate the mundane. Magpies and Fireflies both represent luck, let them watch over you.

contact@crowboye.com

+46 (0) 73 751 10 36

crowboye.com

@CrowBoye

Hannah Bowler

hannahbowlerart@gmail.com

+44 (0) 7402 708 182 hannahbowler.co.uk @hannah.b_illustration

Hummingbirds have one of the highest metabolic rates of any creature on Earth. They are constantly on the edge of starvation and must consume up to three times their bodyweight in nectar every day.

Jasmine Dixon

Toby leaves the comfort of his home and his parents’ care, to embark on an exciting new adventure! The end of one chapter and the beginning of another. Moving out feels scary but Toby is ready for what is to come.

contact@jasdixon.com

jasdixon.com @mikadoillustrations

Artie Stoodley

stoodleyartie@gmail.com

+44 (0) 7857 066 682 gremarts.carrd.co @gremarts_

Beyond the war of humanity, nature endures - moving forward without a care, quietly leaving us behind.

Jasmine Willis

The Large Blue Butterfly has long been a rare sight in Britain, but in 1979 they faced extinction. Through successful reintroduction and conservation projects the Large Blue has come back from the edge of extinction, benefitting other rare wildlife as well, increasing biodiversity in their habitat.

jasmineillustration@outlook.com jasmineillustration.co.uk @jasmine_w_illustration

Jade Mapson

jademapson@gmail.com

+44 (0) 7827 770 630

Jademapsonillustrates.co.uk

When you go to sleep, what do you dream about? This image explores the edge between reality and the dreamworld and how our interests often integrate into our dreams.

Can you spot who is maybe about to have an unfortunate incident?

zoec.illustration@gmail.com

+44 (0) 7835 712 259 zoechanillustration.uk @matcha_and_peaches

Ethel Gutierrez

Gutierrezethel19@gmail.com

+44 (0) 7624 403 001

ethelgutierrez.co.uk

@ejoyg_illustration

Children have everyday moments of being on edge when they experience overwhelming emotions such as excitement, frustration, or anxiety. During these experiences, it is important to calm oneself by taking a deep breath and having a break from all the noise.

Henry Gent

In 1924, Austrian film director Fritz Lang released his five-hour long fantasy epic, Die Nibelungen. The film is an adaptation of the 13th Century German poem Die Nibelungenlied, and is notable for featuring the first ever appearance of a dragon in film.

@henry.g.illustration

Katie Stapleton

Katierxse24@gmail.com

+44 (0) 7469 826 023

Katierosestapleton.co.uk

@katieroseedraws

Shooting stars sit on the edge between fantasy and reality, they have the ability to capture imaginations and make the world feel magical.

Eva Barbosa

A quiet moment between childhood comfort and curiosity, imagining beyond the familiar world into the wider unknown.

evaisobelbarbosa@gmail.com

+44 (0) 7784 972 964

evabarbosaillustration.co.uk @eva.illustrates_

Josephine Joy

artbookjoy@gmail.com

+44 (0) 7763 497 757 Josephinejoy.co.uk @jo_artbook

The interior of this child’s bedroom is illustrated with patterns that bring movement and narrative to the room. The Aurora Borealis wallpaper interacts with an interior space, transforming it into an immersive, dreamlike environment.

Mia Fecher

Onwards

We are at the edge of leaving a structured student life for the wild and undiscovered adventure that the daunting yet exciting future holds. The paths of our creative journeys are on the verge of transitioning into uncharted territory, onwards.

Miafecher@gmail.com

+44 (0) 7391 009 591 miavfecher.art @mia_art.101

Anna Browning

annabrowning.illustration@outlook.com annabrowningillustration.co.uk @annabrowningart

Watching from the edge of the theatre, I observe the crowd perform as a whole. While the audience may change, each night connections are forged in the shared emotion and experience.

Joseph Francis

Joseph.j.francis16@gmail.com +44 (0) 7914 664 493 josephfrancis.uk @josephfrancis.art

At the edge of northern Canada, human systems and Arctic wilderness briefly overlap, as polar bears navigate spaces built for people, revealing how thin the boundary between the wild and us remains.

Moments before the curtains open for the start of a school play of Alice in Wonderland, both the audience and the cast are on the edge of nerves and excitement.

emmacrewillustration@gmail.com

+44 (0) 7305 160 032

emmacrewillustration.com @emmacrewillustration

Fiachra-Morgan O’Farrell

lavvkiiart@gmail.com

+44 (0) 7577 511 015

lavvkii.com

@lavvkii

They say a magician keeps his cards close, his trade secrets even closer... but creep behind the curtain’s edge and you might just glimpse upon a performance the audience never sees!

daisygeorge33@gmail.com

+44 (0) 7701 328 883

daisygeorgeillustration.com @greta.dot

Gemma Pasmore

gemmapasmore@gmail.com

+44 (0) 7985 678 415 gemmapasmore.co.uk @gemma.ink

At the edge of the forest where nobody goes, lives a clever black crow who has found a place to call home. Gathering and collecting trinkets galore, storing every find in his tree trunk front door.

jessmcelligott.com @jess.mce_ Every child has their shadow, the summary of intense emotions, disapproval and taboos. Maybe if we let them out, we too can be free.

mcelligott.jess@gmail.com

+44 (0) 7591 432 164

aoibhindl@outlook.com

+44 (0) 7821 264 767 aoibhin.art @aoibhin.ink

The Edge of Fable Morals

Fables use imagination and myths to draw children in, then use intimidating twists scaring children into believing that going against cultural values, results in punishment. What does this suggest we teach children?

abicamillustrates@gmail.com

+44 (0) 7718 605 788

abicamillustartes.co.uk

@abiicamillustrates

Burtenshaw

madiburtenshaw@gmail.com

+44 (0) 7901 538 096 marilynburgerstore.com @marilyn.burgerstore

Exploring the edge of what could be considered illustration this ceramic piece depicts my own daily life experience of feeding my cat. Typically, a mundane task transformed into a silly and playful interpretation through the 3D form and digital editing.

Georgie Carter

The space between cells. Elements that exploded from stars billions of years ago make up absolutely everything. We are built from the exact same ancient atoms that have been exchanging energy ever since.

gcillustratesit@gmail.com

+44 (0) 7931 187 536

georgiecarter.co.uk

@gc_illustratesit

Amber.niner@gmail.com

+44 (0) 7874 865 150 amberninerillustration.com @amberniner_illustration

Taking the Edge off

For deaf people who use hearing aids or processors, busy and noisy environments can be overwhelming. Taking them off for a while can reduce or mute the sound, offering moments of quiet, relief, and sensory ease.

The island of St Agnes, in the Isles of Scilly, is the most South Westerly point of the UK. From the edge of the southern tip, all that is laid out before you is the vast ocean, for hundreds of miles.

daisydavisprintmaker@gmail.com

+44 (0) 7872 392 768

daisydavisprintmaker.com @daisydavis.art

Niamh Shannon

niamh23shannon@gmail.com

+44 (0) 793 222 3121 niamhshannon.com @nia.mhshannon

As real life becomes increasingly indistinguishable from the digital space, boundaries between artwork and exhibition are destroyed; the edges of the canvas become futile. A definite edge between ourselves and others, between the real and the digital, no longer exists.

ALUMNI INTERVIEW

Jordan Amy Lee

Jordan Amy Lee is a London-based Illustrator who graduated from Falmouth University in 2019. Her work incorporates minimalistic compositions and bold shapes, inspired by the beauty of everyday things. Mila Curlin spoke to Jordan about her creative journey as a freelancer – from landing her first commission to maintaining a work-life balance.

Q: How would you describe your own style and the nature of your work?

I would say that my style of illustration is simple but striking. I try to capture the essence of the subject matter using only a few elements, keeping the subject true to itself but in a bold and elevated way.

Q: What did your graduating portfolio look like?

In the third year, I felt that I had begun to discover and refine my style, but wasn’t exactly sure what particular areas of illustration I wanted to focus on. Because of this, my portfolio included a wide span of projects including food packaging, book covers, editorial, design and personal work. I think casting a wide net was actually useful in getting work, and eventually I began to hone in on a few specific areas as I noticed

patterns in what I was getting commissioned for, and therefore what my style was best suited for.

Q: How did you experience the transition from university to working professionally in the creative industry as a freelance illustrator?

The months after graduating were a really strange time for me - it’s the first time in your life not being

a magazine. It was an editorial job, and the work I had to do was quite different from what I make now, but it was great for learning how to respond to a professional brief and work to a real deadline.

in education, meaning your life suddenly isn’t laid out for you anymore and you’re in complete control of your future, which is exciting but extremely overwhelming! What helped me was getting a parttime job straight after graduating, which gave me some structure and also took the pressure off immediately sustaining myself through freelance work.

Q: What was your first commission? Was there a pivotal moment when kick-starting your career?

I landed my first commission thanks to the New York trip in the third year of the course, after a meeting where I presented my portfolio to

Q: Could you describe the range of commissions you have had since graduating from Falmouth University in 2019?

At this point I’ve been lucky enough to have worked on a really wide range of commissions, including packaging, publishing, advertising, design, editorial and branding. To give a few specific examples of jobs, I’ve worked on several cookbooks, created large scale artwork for shop window displays and murals, designed gift cards for a large restaurant chain, worked on branding for a luxury resort, produced illustrations for a large global campaign spanning twenty

countries, contributed illustrated elements for TV and print adverts, and designed several album covers for a record label I work with.

Q: What does your creative process look like?

Being randomly inspired by things I see informs most of my work. I will see something and I will be drawn to illustrate it, whether it be a bird, some vegetables at a market, a glass of wine or a dish at a restaurant; I’ll take a photo for later reference. I start by cutting the main shape/s of the object out of paper, and then I’ll create any details and textures in ink, using a dip pen or brushes. I’ll then scan in all of the elements and piece them together in Photoshop, overlaying the details and textures onto the shapes, almost like a digital collage. This way of working lets me tinker with an illustration until I get it exactly how I envisage it looking,

without things getting messy and overworked.

Q: Do any commissions you have had so far stand out as your favourites?

There have been lots of commissions I’ve really enjoyed for different reasons. I worked on my biggest commission to date a couple of years ago, which was a global campaign for Kiehl’s where I had to create location-specific artwork for twenty

different countries. It was really hard work, due to both the sheer scale of the job, and also because I had to teach myself how to create vector artwork in Illustrator - something that always really frightened meso I was proud of achieving that. Illustrating The Food Almanac II was a really fun job, and a commission I believe paved the way for many future food illustration commissions, which are definitely some of my favourite jobs.

Multiple illustrations for ‘Kiehl’s Loves’; an annual campaign which celebrates the brand’s presence in cities worldwide. The location specific images were used across print, digital marketing and limited edition packaging

Q: What were the biggest challenges you faced as a freelance illustrator/artist?

Going extended periods with no work is very challenging, both personally and financially. These periods really test your selfconfidence and perseverance. I always get dramatic and claim that I will never get any work again, but they happen to everyone, and you just have to figure out the most productive ways to fill the time, until your next job comes in.

Getting rejected for jobs is pretty disheartening, and can be hard to not take personally, but again it happens to the best of us, and just means that someone else’s work was a better match for that particular project.

Q: Is it hard to maintain a work-life balance as a freelancer? How do you juggle paid and personal work? It can be at times, especially since your workload as a freelancer is ever changing and comes in waves, it can be hard to carve out a ‘normal’ routine. It’s useful to give yourself some structure and boundaries, especially when it comes to meeting deadlines, but I find the balance inevitably shifts with the workloadI’ll have periods where I work seven days a week, and others with no work, but in which I get to do lots of

personal work and go to the cinema in the middle of the day when everyone else is in the office, and I’m personally okay with that!

Q: What does your ideal working environment look like?

A tidy desk, sun pouring in through the window, a really good playlist on, an entire cafetiere of coffee and my dog sleeping on his bed next to me.

Q: Looking forward, what are your long-term goals for the future? Are there new areas of illustration you would like to explore, or certain clients you would like to work with?

I would love to keep illustrating for as long as possible - there are so many potential jobs out there that are so exciting to me! Outside of client work, I recently did a screenprinting course, and loved the entire

Gift Card designs for Ottolenghi, inspired by ingredients used in Ottolenghi’s recipes.

Below: Book cover illustration for ‘The Food Almanac II’

messy and very physical process of designing a print and seeing the whole thing through to paper, so the notion of selling original runs of screenprints is exciting, as well as designing things like greetings cards and tote bags at some point.

Q: What advice would you give to illustration students who are looking to make a name for themselves in the industry as freelancers?

Never stop looking and soaking up inspiration from the world around you - go to galleries, watch movies, go for a walk, look at people in a cafe - your practice needs fuel. Be true to yourself and don’t try to take on a style that doesn’t feel natural to you. Don’t be afraid to say yes to opportunities that frighten you, because you are always capable of surprising yourself.

ALUMNI INTERVIEW

Martin Stanev

Martin Stanev is an award-winning UK-based illustrator and picture book author from Bulgaria, whose work combines natural imagery and childhood nostalgia. His debut picture book, ‘The Planet in a Pickle Jar’, was named by the Guardian as one of the best children’s books in 2021. Maddie Rixon chatted with Martin about his creative journey post-graduation.

Q: Can you describe your graduating portfolio?

My portfolio had a narrow focus on children’s books - mainly consisting of artwork from my final year authorillustrator picture book project, and a couple of other narrative-focused pieces.

Q: How did you kick-start your career on graduation - what were your career aims - what kind of work did you want to get involved in, what kind of commissions?

In my final year I already had a clear idea that I wanted to work in children’s publishing and was very fortunate to have graduated with a book deal with Flying Eye Books; it was helpful to know what my focus would be in the months after graduating.

Q: How did you promote your work?

I already had a website and was sharing my work on a couple of social media platforms. But I started to promote my work more intentionally towards the end of completing my first authorillustrator picture book when I contacted art directors and publishers directly over email with the work that I had done.

Q: How did you find the transition from college to the creative industry?

I was very lucky to already have a project in the pipeline which removed a lot of the anxiety of graduating into the real freelance world. Overall, I felt prepared with the knowledge and skills I had learned on the BA Illustration course, such as how to keep accounts and contacting potential clients.

Q: What was your first commission?

My first professional commission was my debut author-illustrator picture book The Planet in a Pickle Jar, published in October 2021 by Flying Eye Books. The book began as a personal project on the course and I worked on it pretty much throughout the third year.

On our professional practice industry trip to Bologna Children’s Book Fair in 2019, the book idea was picked up by Flying Eye Books.

I was paired with a wonderful team to build and improve on the already strong foundation of the dummy book.

Q: Was there a pivotal moment in your career taking off?

I’d like to think of my career as a collection of small steps that lead me gradually forward, each new step built on the one before.

Having said that, a major step for me was signing with my agents at Inkling which introduced my work to more publishers and opportunities. It’s great to have someone that has your back at all times.

Q: Can you describe the nature of your work, and the range of commissions you’ve had?

As I primarily work in children’s books, my illustrations are usually centered around a narrative and I like to work in both analogue and

digital, blending painterly textures with nostalgic subject matter and retro-inspired colour palettes. My work usually centers around nature, animal characters and our place in the world. I’m fortunate that I’ve had the opportunity to work on a big range of titles in terms of genre and subject matter.

Some of the smaller projects I’ve had the pleasure to work on include artwork for Literati’s book subscription boxes on the theme of ‘Dream It, Make It!’ and a winterthemed 3D concertina greetings card with Olive Press.

Q: Do any commissions stand out to you for any particureason?

I’m currently working on a project that I can’t get enough of! Literati have commissioned me to create the look and theme for their Fall 2026 Book Fair and I’m really proud of the artwork I’ve created so far - I’m excited to reveal more soon! I worked on The Tree Next Door with Charlie Moyler who both wrote and art directed the book. I loved the whole process as it was so collaborative, and from the very first sketches, things flowed very easily. I’m happy with how Hike It, written by Iron Tazz, turned out! The book was longlisted for the World Illustration Awards 2025 and won the Children’s Travel Book of the Year at the Edward Stanford Travel Writings Awards.

Q: How do you find the commissioning process - e.g. working with art directors and on tight deadlines?

I really enjoy the commissioning process, and I love collaborating with such talented creatives. It’s a joy to work on a project where everyone involved is working towards creating the best possible product. It’s very important to manage your time well, especially if working on

A selection of illustrated books: ‘21 Things to do with a tree’, ‘Hike It’, and ‘The 50 States: Things That Go’

several projects at the same time. If the deadline is too tight or things are looking like they might slip away, I find it’s always best to be honest and communicate with my agents and the client on what is achievable.

Q: Looking back at your time at college, was there anything in particular that you feel prepared you for your creative career?

Absolutely! First of all, I learned how the book format works. I keep thinking back to the end of Year 1 when we had our first book making project and had to illustrate an existing text. We were walked through every step in great detail - from breaking down the text and laying it out across the book, to producing a physical dummy book in the end.

Q: Looking forward, what are your future goals for your work - e.g. new areas of illustration, new clients and working across other disciplines.

I would like to work on more picture books! I’ve been tinkering with a few ideas for my next authorillustrator project. Board books and other novelty titles would be fun to illustrate, perhaps experimenting with a paired back, bolder approach. It would also be exciting to apply my work to projects outside of publishing, like toys, stationery, packaging and other commercial projects for children.

AWARDS & RECOGNITION

2026 Bologna Children’s Book Fair Illustrators Exhibition - Finalist

2025 World Illustration Awards, Longlisted 2025 Children’s Travel Book of the Year, Edward Stanford Travel Writings Awards - Hike It

2023 UK Literacy Association Book Awards, Longlist - The Planet in a Pickle Jar

2021 Named a Best Children’s Book of the Year by the Guardian - The Planet in a Pickle Jar

ALUMNI INTERVIEW

Lauren Humphrey

Marla Payne spoke to Lauren Humphrey, a UX Designer and Creative, who graduated from the BA Illustration Course at Falmouth University over ten years ago. They discussed her career so far – from freelance illustration to digital and product design and what the future holds.

Q: You left Falmouth back in 2014 – what sort of portfolio did you graduate with? Had you done any commissioned work already before graduation?

Right before I graduated, I remember we had a London trip, and we got to meet with Anorak Magazine. I hit it off quite well with the lady there and she very kindly let me do work for her while I was still doing my degree. When I came out of university, I’d already done a few commissioned pieces just because we did that trip to London – so that it kind of kicked off my career. I had a few things that went viral on Instagram and Tumblr, which was really popular back then, and people found me through that too.

Q: Once you graduated, having already had some great industry experience, how did you go about kick-starting your career?

Originally, I moved back to my mum’s for a bit because I needed to save some money and I couldn’t quite afford to move to London just yet. But I started just sending out my work. I had a little pack of postcards, with my work and my details on, and I was basically like “please hire me!” I got a few jobs, nothing ever that big though because it took a little while

for things to really start rolling – so I ended up working in a bar in Soho as well for about half a year.

Q: It sounds like it took a while to get off the ground - what was your first big break?

The first significant commission was doing the art for Green Man Festival. I remember being at university and saying to the tutors that my dream job would be doing festival branding for something like Green Man Festival and, luckily, I got that just through sending the director, Alex Ostrowski, my promotional postcards, and he could see I was really interested. It wasn’t very well paid, and I had to have pretty much a full-time job as well, but the job itself was amazing and really, really fun. I also got to develop my skills in terms of working with a client and being fast paced.

Q: It sounds like you struggled to make illustration a full-time job in the beginning. Was there a pivotal moment where you realised you had managed to transition your passion into a viable career? Initially, I was always working pretty much full-time in retail or hospitality because illustration just wasn’t paying well enough but there was a moment where I found a job at Scriberia. It was in more of a corporate setting - I would go to corporate meetings and illustrate what they were talking about - like live notetaking and scribing. I could draw every day and get paid a salary for it! When Covid hit, unfortunately I got made redundant, but I was luckily in a position where I could then go freelance full-time for a few years. I earned just enough to get by and got more commissions from bigger clients - like the New York Times. Then I really wanted to try something different, so I decided I wanted to go into product design or

Q: How did your time at Falmouth prepare you for a career in illustration and product design? I remember they were very good at teaching us practical professional practice skills, (including invoicing and tax!) – and they really stressed the importance of knowing your worth and making sure that you’re charging the right amount for

commissions. Also, they taught us how to work fast - we had a lot of projects that were very fast-paced, and we had to get a lot done in a very short amount of time. I think that helped prepare me for the editorial illustrations that I used to work on a lot and now in product design – for which you have to come up with ideas straight away.

Q: Which recent commission has been your favourite?

I did one which was really fun for the cover of the New York Times, for Kids China. It had a big cat on the front, so I decided to illustrate my own cat. It had lots of plants and colourful, small details, and I just really enjoyed working on that - I also got to do another one after that,

called Foodtopia. Plants and food are the things I love drawing the most and the New York Times for Kids projects are the two jobs that stand out when people see them on my Instagram or my website, because they’re quite busy and colourful.

Q: You’re freelancing at the moment but would like to get back

Left: Cover illustration for the Chinese Kids edition of the New York Times.

Above: ‘That’s Life!’ book project published by Laurence King Publishing

into a full-time role. What are your career goals for the future?

My goal is to stay in product design and work for a company that I am passionately aligned with, in the sense that I’d love to work somewhere that’s got a really good mission - either doing something good for the planet or doing something that really changes people’s lives. I’m actually being interviewed for one at the moment, so I hope I get the job - it’s a very good company and they work in women’s health.

Q: What advice would you give current students in 2026?

Networking is key because almost all of my opportunities have come from networking! I think, just be confident in yourself around people that you want to work with, or work for, because that gets you places. And don’t give up - it’s such a hard environment at the moment, especially with AI, but we’ve got to keep up that fight because it’s worth it!

The Falmouth illustration team

Nigel Owen: Course Leader

Georgie Bennet Senior Lecturer & Head of Year One

Julie Monks: Lecturer & Head of Year Two

Natalie Hayes: Senior Lecturer & Head of Year Three

Sue Clarke: Senior Lecturer

Tilly McKerrow: Senior Lecturer

Nick Mott: Senior Lecturer

Linda Scott: Senior Lecturer

Graham Black: Lecturer

Matthew Booker: Lecturer

Elisa Cunningham: Lecturer

Rose Forshall: Lecturer

Tom Hubmann: Lecturer

Emma Lewis: Lecturer

Felix Miall: Lecturer

Chris Odgers: Lecturer

Dr Carolyn Shapiro: Associate Professor

Laurence North: Senior Lecturer

Phylly Bluemel: Lecturer

Dr Jeanie Sinclair: Lecturer

Irene Vidal Cal: Associate lecturer

Pete Williams: Associate lecturer

Cally Gibson: Senior Technician

Amy Higgins: Senior Technician

Art Direction and Production Graham Black

Art Direction and Editing: Sue Clarke, Natalie Hayes

Cover illustration: Jordan Lee jordanamylee.com

© 2026 Falmouth University. No reproduction, copy or transmission of this publication may be made without written permission from Falmouth University and the individual student or graduate.

Printed & bound by St Austell Printing Company.

“In 2025, I had the immense pleasure of collaborating with the talented BA Illustration students at Falmouth University. Their brief was to create new artworks inspired by Shakespeare for an exhibition at the St Endellion Summer Festival, complementing its musical programme. They responded with astonishing originality, producing work in a phenomenal range of media — from bold prints and intricate drawings to fully realised illustrated children’s books. The exhibition celebrated their imagination, technical skill, and professionalism, as well as the warmth, confidence and energy they brought to assisting with the gallery installation and managing sales.

Having curated exhibitions at the National Gallery, V&A and Royal Academy of Arts, I can truly say this was one of my most rewarding projects.”

Lois Oliver, Curator, St Endellion Summer Festival Exhibition