Archive for February, 2016

Fair Terms for Creators website

Monday, February 29th, 2016

AOI member, Mick Marston was invited to create an image (below) for the new Fair Terms for Creators website, set up as part of the campaign seeking for creators to be treated more equally when issued with contracts by commissioners. Illustrators will be aware that they are often asked to agree to contract terms they do not consider fair, but do not believe they have equal bargaining power. AOI are closely involved with this campaign, which is part of the Creators’ Rights Alliance

CRA fair terms

Mick was asked to depict a writer, illustrator, fine artist, photographer, journalist, musician, composer and film director to cover the many areas that creators are involved in.

CRA Fair terms website

What are fair terms? The campaign for Fair Terms believe that there are seven areas of contract terms which need to be protected so that all creators, including members of the public who are often agreeing to contractual terms and conditions online, are protected when they sign a contract. These seven areas form the acronym CREATOR. They are all already in use elsewhere in the world or mirror existing consumer protection rights.

Clarity: Clear contracts, in written form, which transparently set out the exact scope of the rights granted / assigned / licensed and are timely and transparently negotiated.

Remuneration: Fair Remuneration. Equitable and unwaivable remuneration for each use / exploitation of work, to include ‘bestseller clauses’ so that if a work does far better than expected the creator shares in its success even if copyright was assigned.

Exploitation: An obligation of Exploitation for each mode of exploitation. Also known as the Use-it-or-Lose-it Clause. This is the French model

Accounting: Fair, understandable and proper Accounting clauses.

Terms: Reasonable contract Terms (time limits) with regular reviews where appropriate to take into account new forms of exploitation; underpinned by a reversion right where appropriate.

Ownership: Authors, including illustrators and translators, should be appropriately credited (cf metadata and ‘accurately credited somewhere’) for all uses of their work; the integrity of artistic works should be respected, and the Ownership of moral rights should be unwaivable.

Reasonable: All contracts should be subject to a general test of Reasonableness including a list of defined clauses which are automatically deemed to be void and a general safeguarding provision that any provision contrary to the requirement of good faith, causes a significant imbalance in the parties’ rights and obligations arising under the contract, to the detriment of the author shall be regarded as unfair. #fairterms

I Am Bear – Book Review

Friday, February 26th, 2016

By Ben Bailey Smith and Sav Akyuz

Published by Walker Books ISBN 9781406359251

Review by Vicky Stylianides

I Am Bear WEB

The story of a mischievous bear and the trouble he causes, whilst jumping in and out of his purple bear suit. A perfect disguise (apparently).

The narrative is erratic, but it seems that the reason is because there doesn’t seem to be one. With Bear up to something new on every page, it’s difficult to keep up, or actually understand how one page links to the next. As an adult (well above the target audience of 3+) I sadly had to read it twice to make sense of it.

I Am Bear Boo WEB

Once I understood the concept (Bear being crazy and fun to the point where it becomes completely random), the scenarios were humorous, but without the humour the plot is weak. We don’t get to know the characters, and there is nothing to do apart from giggle at Bear’s naughtiness, or magic tricks, or stuffing his face with honey. And before you know it, it’s the end.

I Am Bear Honey WEB

Bear is very energetic and playful, and the illustrations reflect this. However, they are not always successful at communicating the text or working alongside it.


There is a policeman who looks like a security guard.

I Am Bear Now You Don't WEB

And a poor little bunny who looks as confused as I did reading the book.

I Am Bear was also tested out at a primary school, with the help of a teacher relative and their colleagues. A year 2 class enjoyed it, however from an adults perspective it is slightly underwhelming compared to other children’s book on the market. In relation to the reading age, the book would need to be read to younger children with words like knock, guess and doughnut challenging to sound out.

You may also be interested in these book reviews:

Have You Seen My Monster

I Am Henry Finch

Artists’ BookMarket 2016

Wednesday, February 24th, 2016

The Fruitmarket Gallery, 45 Market Street, Edinburgh, EH1 1DF


Artists exhibiting include Otto, who on Sunday at 12.15 will be giving a talk about screen printed picture books. His book Planets is below.


World Illustration Awards 2015 touring exhibition in Ormskirk

Wednesday, February 17th, 2016

Chapel Gallery, St. Helens Road, Ormskirk, Lancashire, L39 4QR.
Opening times: Tuesday – Saturday, 10.00 am – 16.30 pm, Closed Monday, Sunday & all Bank Holidays.
Free Admission, Disabled Access
T: +44 (0) 1695 571 328,

After a very successful run last year, Chapel Gallery in Ormskirk welcomes back the AOI World Illustration Awards touring exhibition for the new 2015 show.

The Chapel Gallery in Ormskirk provides around twenty exhibitions and showcases each year. There will be a lot of extra activity on offer, so don’t miss out on a host of family fun or catching up with the excellent artworks from the London exhibition and visit the gallery this spring.

The exhibition is open to the public until 21 February 2016.

“This exceedingly diverse exhibition is fabulous, it inspires the imagination, brings joy to the soul and hope for the next generation of artists. I particularly loved Paul Davis’s ‘The Bacchus of the Post-it Notes’ for its amusingly philosophical take on life, but there are so many exceptional illustrations to vie for your top spot! Go and enjoy this exhibition with your children, friends, grandparents and partner, you will enjoy the hot debate over which is your winner! Excellent curation, beautiful illustration.” Amanda Topps, visitor February 2016




Morrissons "Cel-eggrities" by Andy Ward

Morrissons "Cel-eggrities" by Andy Ward

Photos courtesy of Chapel Gallery.

Beginnings and Endings – exhibition

Monday, February 15th, 2016

8 February – 12 March 2016

Poetry Café, 22 Betterton Street, London, WC2H 9BX. 11am – 11pm

Beginnings and Endings_Middlesex

Middlesex University Illustration BA are showing ‘Beginnings and Endings’, their annual exhibition featuring work by staff and students inspired by literature’s greatest opening and closing lines.

Talking Illustration – with Yellow

Monday, February 15th, 2016

theprintspace – 74 Kingsland Road, London, E2 8DL GB


After launching the Yellow book and exhibition back in December, which saw 52 artists pen 52 weeks of news, the team are returning to theprintspace for a night talking all things illustration. The night will feature the Yellow team discussing their motivations for the project, plus some of the world’s most exciting artists – including Supermundane and Malika Favre – explaining their craft.

Organised by Yello. Tickets £10

GLUG – We’ll Go For One

Thursday, February 11th, 2016

18-27 February Open daily 10.00-17.00 ASC Studios, Newcross Gate, London, SE14 6BL

Glug resize

GLUG, an exhibition presented by Ruairi Fallon, Alexander James Wood and Matt Rogers, all recent graduates of Camberwell College of Art. The detritus and debris of after-hours life and drinking culture in the city provide the landscape, which the three have explored in their own way.

Throughout the exhibition there will also be a relief-printing workshop that will offer the chance for viewers to print their own five-panel narrative from a library of pre-cut slides. Creations will be printed on a variety of papers with the option of creating a concertina book, that once fully dried, can be sent to your address.

On Heat – exhibition

Wednesday, February 10th, 2016

Kate Hazell and Just Friends Studio

8 February – 8 March 2016

Loves Company (just outside exit 4 of Old Street underground) 104-122 City Road, London, EC1V 2NR

FOXY FOX Kate Hazell_Phwoar2

AOI member Kate Hazell and Just Friends Studio (Christine Serchia & Flaminia Adele) have joined forces to present ON HEAT: a Valentine’s exhibition where art imitates love. They say, “This collection of drawings, prints and typography will flirt with your eyes and drive you into a frenzy of lust.”

Preview on Thursday 11th February at Loves Company. Original artworks and unique Valentine’s cards will be available.

The art of seduction_Kate Hazell2

Bawden, Ravilious and the artists of Great Bardfield – book review

Tuesday, February 9th, 2016

Ed. by Gill Saunders and Malcolm Yorke. V&A Publishing ISBN 9781851778522

Review by Derek Brazell


Encompassing printmaking, illustration, fabric design, painting and wallpaper design, this book on the distinctive artists who made the Essex village of Great Bardfield their home from the early 1930’s is visually and biographically engrossing. Illustrators, in particular, will find imagery that delights in detail and atmosphere; the seemingly everyday either faithfully recorded or translated to the abstract.

Editors, Gill Saunders and Malcolm Yorke, alongside their own texts, bring together writers who discuss the lives and works of the artists, including AOI Patron Chloe Cheese, daughter of illustrators and printmakers Bernard Cheese and Sheila Robinson, two of the artists who were part of the Great Bardfield community.

Edward Bawden

Edward Bawden

Discovered by Edward Bawden and his friend Eric Ravilious in 1931, Great Bardfield gradually attracted other creative people drawn through their connections to those already there: Kenneth and Diana Rowntree, Michael Rothenstein and Duffy Ayers, John Aldridge, Michael Rothenstein, Walter Hoyle, Cheese and Robinson and Marianne Straub.

Shelia Robinson

Shelia Robinson

Although several of the artists were influenced by Bawden’s output, there is a rich variety of artwork from all the artists profiled, from paintings of the surrounding buildings and countryside, illustrated letters, wood engravings and linocuts depicting domestic scenes and landscapes, to woven fabrics and book illustrations. Bawden and Ravilious (especially after the 2015 Ravilious exhibition at Dulwich Picture Gallery) are the more well known artists, both creating illustrations and works to commission alongside personal work, and the influence of their watercolours can be seen across contemporary illustration. Attractively designed, the book’s large format give space for images to breath, and textures on prints and paintings are clear to see, provoking admiration for the craft of those discussed.

Michael Rothenstein

Michael Rothenstein

The profile of the Great Bardfield artists were raised by a series of successful informal open-house days which encourage thousands of art lovers (and the press) to the village to see their studios and homes. Textile designer Straub’s Trinity Cottage was given a spread in the June 1956 issue of House Beautiful, who commented that she had ‘given new life to her charming home’. It can initially appear to have been an idyllic situation, creating work from home (although often with no hot water or heating), surrounded by like-minded people (and bemused villagers), but events such as the Second World War intruded, and relationships and fortunes fluctuated for most of the artists living there.

M Straub

Marianne Straub

The book covers the artists’ on-going lives after they leave the village following job offers, the breakdown of relationships or just moving on, and there’s a sense that the halcyon days are long gone before John Aldridge, who had remained a resident, died there in 1983. Readers are left with a strong impression of the picturesque village and its artistic inhabitants, and the significant legacy of of their multi faceted contributions to the art of the period. A book which I feel I’ll return to.

John Aldridge

John Aldridge

Chloe Cheese told Derek about her experience of writing about Sheila Robinson and Bernard Cheese for Bawden, Ravilious and the artists of Great Bardfield:

‘The generation of lesser known artists which my parents belonged to suffered a bit from the glamourous Sixties sweeping away previous lesser known work.

I have spent quite a lot of time over the last two years getting together my mother’s archive from a large heap of things I had in the plans chest and boxes here and there. My father, Bernard, died quite recently so I was asked to write about them both. Their marriage was short, but I got to know my father later on as we both made lithographs and sometimes exhibited together.

I am also finishing a short account of my mother’s work for The Fry Gallery in Saffron Waldon. I had no intention of writing anything at all and writing the V&A book was difficult as usually I express myself in pictures. I had to find a way of seeing the past from a slightly less personal perspective, so read round the period extensively and checked facts. I decided to write about my mother as she left no published thoughts on her own work, and I am the only person still alive who can write with any authority about her, so knew I should try. My daughter has helped me (who also went to the Royal College of Art – 3rd generation) and found it enlightening, as she did not know my mother.’

Fry Gallery

Richard Roundtree

Richard Roundtree

Other reviews you may be interested in:

Drawn Direct to the Plate

Making Great Illustration

Fitzwilliam Museum Bicentenary Celebrations

Friday, February 5th, 2016

As part of its bicentenary celebrations, the Fitzwilliam Museum Cambridge is hosting two exhibitions from its collections of prints and botanical drawings.

Crawling with Life: Flower drawings from the Henry Rogers Broughton Bequest

2 February – 8 May 2016

Butterflies and other insects, Jan van Kessel, 1661 small

Spiders, snails, beetles, butterflies, moths, frogs and lizards are just some of the living creatures painted amongst the flowers in the Museum’s botanical paintings and drawings.

See watercolours by the 17th century German naturalist and illustrator, Maria Sibylla Merian and her tutor Jacob Marrel, as well as works by the Dutch artist Jan van Huysum and members of the Dietzsch family. These are accompanied by studies of carnivorous plants and those designed to attract insects through mimicry or putrid smells, painted by the German born scientist and illustrator Georg Dionysius Ehret and the French artist and engraver Nicolas Robert.

1816: Prints by Turner, Goya and Cornelius

9 February – 31 July 2016

Joseph Mallord William Turner (1775-1851), Norham Castle on the Tweed, c

A look across Europe at three series of prints by major artists published in 1816, the year of the founding of the Fitzwilliam.

The period was known as ‘The year without a summer’ due to the after-effects of the 1815 volcano eruption in Indonesia. Global cooling, volcanic ash, darkness, crop failures, food riots and spectacular sunsets influenced artists and writers of the time. A variety of responses can be seen here with Goya’s Tauromaquia, books eleven and twelve of Turner’s Liber Studiorum, and Peter Cornelius’s large-scale Illustrations to Goethe’s Faust.

Find more information about the exhibitions and the Fitzwilliam Museum here