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.......................................... ................................................ .......................................... ................................................ .......................................... ................................................ .......................................... .......................................... ................................................ .......................................... ................................................ .......................................... Out of dust ; .......................................... ................................................ .......................................... ................................................ more light .......................................... .......................................... ................................................ .......................................... ................................................ power & .......................................... ................................................ .......................................... .......................................... ................................................ .......................................... ................................................ .......................................... ................... .......................................... ................................................ ................... .......................................... ................... ................................................ .......................................... ................... ................................................ .......................................... ................... .......................................... ................................................ ................... .......................................... ................... ................................................ .......................................... ................... .......................................... ................................................ ................... .......................................... ................... ................................................ .......................................... ................... .......................................... ................................................ ................... .......................................... ................................................ ................... .......................................... ........................................................... ................... ................................................ ................... ................................................ ................... ................... ................................................ ................... ................................................ ................... ................... ................................................ ................... ................................................ ................... ................................................ ................... ................... ................................................ ................... ................................................ ................... ................... ................................................ ................... ................................................ ................... ................................................ ................... ................... ................................................ ................... ................................................ ................... ................... ................................................ . ................... ................................................ ................... ÂŁ1
+ The Unreal World, an essay by Adrian Shaughnessy
OUT OF DUST; MORE LIGHT & POWER
Editor Tim Metcalf Tsm@soton.ac.uk Publisher The Winchester Gallery Press ISBN-10 1-873451-62-8 ISBN-13 978-1-873451-62-5
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‘Out of Dust; Power and Light’ is a collaborative show of forty designers, illustrators, animators and photographers. They have interpreted and responded to the title to produce work that will in itself react and respond to the environment and atmosphere of the Shoreditch Town Hall exhibition WTEGI 8LI EVVE] SJ HMàIVIRX HMWGMTPMRIW possessed by the contributors has yielded a dynamic and diverse range of responses. The contributors, all graduates from the BA (Hons) Graphic Arts course at Winchester School of Art have also considered not only the architectural space around them but also ideas concerning social observation and documentation. Accompanying the work is an essay by Adrian Shaughnessy, entitled ‘The Unreal World’. This new essay contains vital advice and guidance for any graduate about to embrace the commercial world. The lessons within the text, coinciding with the positive attitude and spirit of the work, will undoubtedly support the collaborative element in their future endeavors. Tim Metcalf Programme Leader Ba Hon Graphic Arts
More Light, More Power + E PULVERE LUX ET VIS
Shoreditch
History
^ŚŽƌĞĚŝƚĐŚ dŽǁŶ ,Ăůů Θ ŽƌŽƵŐŚ͛Ɛ ŵŽƩŽƐ͗
Shoreditch,
as
an
area,
has
always
possessed
an
ever
evolving
and
ŝŶƚƌŝŐƵŝŶŐ ŚŝƐƚŽƌLJ ŽĨ ƚƌĂŶƐĨŽƌŵĂƟŽŶ ĂŶĚ ƌĞŝŶǀĞŶƟŽŶ͘ /ƚ ŝƐ ƚŚŝƐ ƐĞŶƐĞ ŽĨ ƉƌŽŐƌĞƐƐŝŽŶ ĂŶĚ ŵĞƚĂŵŽƌƉŚŽƐŝƐ ƚŚĂƚ ŝƐ ƚŚĞ ĨŽĐĂů ƉŽŝŶƚ ŽĨ ƚŚŝƐ ƐŚŽǁ͘
dŚĞ ŽƌŝŐŝŶ ŽĨ ƚŚĞ ŶĂŵĞ ^ŚŽƌĞĚŝƚĐŚ ŝƐ ŽŌĞŶ ĞƌƌŽŶĞŽƵƐůLJ ŝĚĞŶƟĮĞĚ ĂƐ Ă Saxon
word,
and
to
have
come
from
the
“Sewerditch”,
a
stream
which,
it
is
ĂůůĞŐĞĚ͕ ƌĂŶ ĞĂƐƚ ŽĨ ^ƚ >ĞŽŶĂƌĚ͛Ɛ ƚŽ ŶĞĂƌ ,ŽůLJǁĞůů >ĂŶĞ͘ /ƚ ŝƐ ŬŶŽǁŶ ƚŚĂƚ ƚŚŝƐ ƉĂƌƚ ŽĨ >ŽŶĚŽŶ ƵƐĞĚ ƚŽ ďĞ Ă ZŽŵĂŶ ƐĞƩůĞŵĞŶƚ ĂŶĚ ǁĂƐ ƚŚĞ ŵĞĞƟŶŐ ƉŽŝŶƚ of
two
Roman
roads,
that
of
Kingsland
Road
(part
of
Ermine
Street)
and
KůĚ ^ƚƌĞĞƚ ;ůŝŶŬĞĚ ǁŝƚŚ tĂƚůŝŶŐ ^ƚƌĞĞƚͿ͘
^ŚŽƌĞĚŝƚĐŚ ;Žƌ ^ŽĞƌĚŝĐŚͿ͕ ĂĐƚƵĂůůLJ ƚŽŽŬ ŝƚƐ ŶĂŵĞ ĨƌŽŵ ƚŚĞ ŽůĚ ĨĂŵŝůLJ ƚŚĞ ^ŽĞƌĚŝĐŚĞƐ͕ >ŽƌĚƐ ŽĨ ƚŚĞ DĂŶŽƌ ŝŶ ƚŚĞ ƟŵĞ ŽĨ ĚǁĂƌĚ ///͘ ^ŝƌ :ŽŚŶ ĚĞ Soerdich
of
that
reign,
was
an
eminent
warrior,
lawyer,
statesman,
and
ĚŝƉůŽŵĂƚ͘
^ŚŽƌĞĚŝƚĐŚ͕ ŽǀĞƌ ƟŵĞ͕ ŚĂƐ ŚŽƐƚĞĚ ŵĂŶLJ ĚŝīĞƌĞŶƚ ƚƌĂĚĞƐ ĂŶĚ ƉƌŽĨĞƐƐŝŽŶƐ ;ŵŽƐƚůLJ ůĞŐĂůͿ͕ ĨƌŽŵ ďĞŝŶŐ ƚŚĞ ƐŝƚĞ ŽĨ Ă EƵŶŶĞƌLJ͕ Ă DĞĚŝĞǀĂů ďƌŝĐŬ ŵĂŬĞƌƐ͕ >ŽŶĚŽŶƐ ĮƌƐƚ dŚĞĂƚƌĞ ĂƌĞĂ͕ ĂŶĚ ƚŽ ďĞŝŶŐ ĐĞŶƚƌĂů ƚŽ ƚŚĞ ϭϲƚŚ ĐĞŶƚƵƌLJ ĐůŽƚŚŝŶŐ ŝŶĚƵƐƚƌLJ͕ ŝŶĐůƵĚŝŶŐ ŝƌŽŶŵŽŶŐĞƌƐ͕ ƐĂĚĚůĞƌƐ ĂŶĚ ŽƚŚĞƌ ƚĂŝůŽƌƐ͘ /ƚ ďĞĐĂŵĞ ƚŚĞ ĨŽĐƵƐ ŽĨ ƉƌŽƚĞƐƚƐ ŝŶ ϭϲϳϱ ǁŚĞŶ ůŽĐĂů ǁĞĂǀĞƌƐ ƌĞďĞůůĞĚ ĂŐĂŝŶƐƚ ƚŚĞ ƵƐĂŐĞ ŽĨ ŵƵůƟ ƐŚƵƩůĞ ůŽŽŵƐ͖ ƚŚĞƐĞ ĐŽƵůĚ ĚŽ ƚŚĞ ǁŽƌŬ ŽĨ ϮϬ ƉĞŽƉůĞ Ăƚ ŽŶĐĞ͕ ĂŶĚ ƐŽ ƉƌŽƚĞƐƚŽƌƐ ƌĞŵŽǀĞĚ ĂŶĚ ĚĞƐƚƌŽLJĞĚ ĞǀĞƌLJ ƐŚƵƩůĞ ůŽŽŵ ƚŚĞLJ ĐŽƵůĚ ĮŶĚ ĂŶĚ ďƵƌŶƚ ƚŚĞŵ ŝŶ ƚŚĞ ƐƚƌĞĞƚƐ͘
/Ŷ ϭϴϰϱ ĞĂƌůLJ sŝĐƚŽƌŝĂŶ ƉƵďƐ ĂŶĚ ǁĂƌĞŚŽƵƐĞƐ ǁĞƌĞ ďĞŐŝŶŶŝŶŐ ƚŽ ƐƉƌŝŶŐ ƵƉ͘ ĐƟǀĞ ƚƌĂĚĞƐ ŝŶ ƚŚĞ ĂƌĞĂ ŝŶĐůƵĚĞĚ͗ ĚƌĂƉĞƌƐ͕ ƚĂŝůŽƌƐ͕ ĐůŽƚŚŝĞƌƐ͕ ĐŚĞŵŝƐƚƐ͕ butchers,
ironmongers,
jewellers,
and
oil
and
colour
warehouses
were
ƚŚƌŝǀŝŶŐ͘ ,ŽǁĞǀĞƌ͕ ĐůŽƚŚŝŶŐ͕ ĨƵƌŶŝƚƵƌĞ ĂŶĚ ƉƌŝŶƟŶŐ ǁĞƌĞ ƚŚĞ ƚŚƌĞĞ ŵĂŝŶ ƚƌĂĚĞƐ ŝŶ ^ŚŽƌĞĚŝƚĐŚ͘
dŚĞ ĂƌĞĂ ŚĂƐ ĂůǁĂLJƐ ŵĂŝŶƚĂŝŶĞĚ Ă ĐŽŶƐƚĂŶƚ ĂƚŵŽƐƉŚĞƌĞ ŽĨ ŇŽǁ ĂŶĚ ĐŚĂŶŐĞ͕ ĂŶĚ ŽĨ ŶĞǀĞƌ ďĞŝŶŐ ŝŶ Ă ƐƚĂƚĞ ŽĨ ƐƚĂƐŝƐ͘ /ƚ ŝƐ ĂůǁĂLJƐ ŝŶ Ă ƉƌŽĐĞƐƐ ŽĨ ƌĞŐĞŶĞƌĂƟŽŶ ĂŶĚ ƌĞŝŶǀĞŶƟŽŶ͘ dŚŝƐ ĂƌĞĂ ŵŽƌĞ ƚŚĂŶ ŵŽƐƚ ŬĞĞƉƐ ƉƌŽŐƌĞƐƐŝŶŐ ĂŶĚ ŵŽǀŝŶŐ ĨŽƌǁĂƌĚ͘
dŚĞ ďŽƌŽƵŐŚ͛Ɛ ŵŽƩŽ ͞DŽƌĞ >ŝŐŚƚ͕ DŽƌĞ WŽǁĞƌ͕͟ ŝƐ ŝŶĐŽƌƉŽƌĂƚĞĚ ǁŝƚŚŝŶ ƚŚĞ ďƵŝůĚŝŶŐ͛Ɛ ĚĞƐŝŐŶ͘ dŚŝƐ ŵŽƩŽ ƌĞĨĞƌĞŶĐĞƐ ƚŚĞ ĚŝƐƐĞŵŝŶĂƟŽŶ ŽĨ ĞůĞĐƚƌŝĐ ƉŽǁĞƌ ƚŽ ƚŚĞ ďŽƌŽƵŐŚ ĨƌŽŵ ƚŚĞ sĞƐƚƌLJ ŽĨ ^ƚ >ĞŽŶĂƌĚƐ ^ŚŽƌĞĚŝƚĐŚ ůĞĐƚƌŝĐ >ŝŐŚƚ ^ƚĂƟŽŶ͖ ƚŚŝƐ ǁĂƐ ůĂƚĞƌ ƌĞͲŶĂŵĞĚ ƚŚĞ ^ŚŽƌĞĚŝƚĐŚ ŽƌŽƵŐŚ ZĞĨƵƐĞ ĞƐƚƌƵĐƚŽƌ ĂŶĚ 'ĞŶĞƌĂƟŶŐ ^ƚĂƟŽŶ͕ ǁŚŝĐŚ ŝƐ ŽŶ ŽƌŽŶĞƚ ^ƚƌĞĞƚ͘ dŚŝƐ ďƵŝůĚŝŶŐ ŝƐ ĂĚŽƌŶĞĚ ǁŝƚŚ ƚŚĞ ŵŽƩŽ ͞ Wh>s Z >hy d s/^͕͟ ǁŚŝĐŚ ƚƌĂŶƐůĂƚĞƐ ĂƐ ͞KƵƚ ŽĨ ƚŚĞ ĚƵƐƚ͕ ůŝŐŚƚ ĂŶĚ ƉŽǁĞƌ͘͟ dŚĞ ƉƵƌƉŽƐĞ ŽĨ ƚŚŝƐ ďƵŝůĚŝŶŐ ;ďƵŝůƚ ŝŶ ϭϴϵϱͿ ǁĂƐ ƚŽ ďƵƌŶ ƚŚĞ ƌƵďďŝƐŚ ŽĨ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ďŽƌŽƵŐŚ ƚŽ ŐĞŶĞƌĂƚĞ ƐƚĞĂŵ ĨŽƌ ĂŶ ĞůĞĐƚƌŝĐŝƚLJ ŐĞŶĞƌĂƚŽƌ͘ dŚĞ ƐƵƌƉůƵƐ ĞŶĞƌŐLJ ǁĂƐ ĞĸĐŝĞŶƚůLJ ĐŚĂŶŶĞůĞĚ ƚŽ ŚĞĂƚ ƚŚĞ ƉƵďůŝĐ ďĂƚŚƐ ŶĞdžƚ ĚŽŽƌ͘
^ŚŽƌĞĚŝƚĐŚ dŽǁŶ ,Ăůů ǁĂƐ ŽƌŝŐŝŶĂůůLJ ĐĂůůĞĚ sĞƐƚƌLJ ,Ăůů͕ ĂŶĚ ŚĞƌĞ ƚŚĞ ĂīĂŝƌƐ ŽĨ ƚŚĞ WĂƌŝƐŚ ǁĞƌĞ ŵĂŶĂŐĞĚ ďLJ ƚŚĞ sĞƐƚƌLJ ŽĨ ƚŚĞ WĂƌŝƐŚ͕ ĞůĞĐƚĞĚ ďLJ ŝƚƐ ĨƌĞĞŚŽůĚĞƌƐ͘ dŚĞ ƌĞƐƉŽŶƐŝďŝůŝƟĞƐ ŽĨ ƚŚĞ sĞƐƚƌLJ ǁĞƌĞ ƚŽ ŽǀĞƌƐĞĞ ƚŚĞ ƉĂƌŝƐŚ͛Ɛ ĐŚĂƌŝƟĞƐ͕ ƵƉŚŽůĚŝŶŐ ůĂǁ ĂŶĚ ŽƌĚĞƌ͕ ƐƵƉƉŽƌƟŶŐ ƚŚĞ ŝŵƉŽǀĞƌŝƐŚĞĚ͕ ďƵƌLJŝŶŐ ƚŚĞ ůŽĐĂů ĚĞĐĞĂƐĞĚ ĂŶĚ ŬĞĞƉŝŶŐ ƌĞĐŽƌĚƐ ĨŽƌ ďŝƌƚŚƐ͕ ĚĞĂƚŚƐ ĂŶĚ ŵĂƌƌŝĂŐĞƐ͘
dŚĞ ƌĐŚŝƚĞĐƚ ĂĞƐĂƌ ƵŐƵƐƚƵƐ >ŽŶŐ ǁĂƐ ĐŽŵŵŝƐƐŝŽŶĞĚ ďLJ ƚŚĞ ^ŚŽƌĞĚŝƚĐŚ sĞƐƚƌLJ ƚŽ ĚĞƐŝŐŶ ƚŚĞ ŚĂůů͕ ĂŶĚ ǁĂƐ ĐŽŵŵŝƐƐŝŽŶĞĚ ƚŽ ŝŶĐůƵĚĞ Ă ĚĞďĂƟŶŐ ĐŚĂŵďĞƌ ĂŶĚ Ă ƉƵďůŝĐ ĂƐƐĞŵďůLJ ŚĂůů͘ dŚĞ ďƵŝůĚŝŶŐ ǁĂƐ ĮŶĂůůLJ ĐŽŵƉůĞƚĞ ŝŶ ϭϴϲϲ ĂŶĚ ĚĞƐĐƌŝďĞĚ ĂƐ ƚŚĞ ͚ŐƌĂŶĚĞƐƚ ŝŶ >ŽŶĚŽŶ͛͘ dŚŝƐ ďƵŝůĚŝŶŐ ǁĂƐ ĨƵƌƚŚĞƌ ĚĞǀĞůŽƉĞĚ ŝŶ ƚŚĞ ϭϵϯϬ͛Ɛ ǁŚĞŶ ƌĐŚŝƚĞĐƚ tŝůůŝĂŵ ,ƵŶƚ ;ϭϴϱϱͲϭϵϰϯͿ ĂŶĚ ŚŝƐ ƐŽŶ ƵŶĚĞƌƚŽŽŬ Ă ŵĂũŽƌ ĞdžƚĞŶƐŝŽŶ ƚŽ ƚŚĞ ,Ăůů͘
dŚĞ ŵƵŶŝĐŝƉĂů ĐĞŶƚƌĞ ŵŽǀĞĚ ƚŽ ,ĂĐŬŶĞLJ dŽǁŶ ,Ăůů ŝŶ ϭϵϲϱ͕ ĂŶĚ ĂůƚŚŽƵŐŚ Ă ĨĞǁ ĐŽƵŶĐŝů ŽĸĐĞƐ ĐŽŶƟŶƵĞĚ ƚŽ ĨƵŶĐƟŽŶ Ăƚ ^ŚŽƌĞĚŝƚĐŚ dŽǁŶ ,Ăůů ĨŽƌ ĂƌŽƵŶĚ ĂŶŽƚŚĞƌ ϯϬ LJĞĂƌƐ͕ ƚŚĞ ďƵŝůĚŝŶŐ ƐƚĂƌƚĞĚ ƚŽ ĨĂůů ŝŶƚŽ Ă ƐƚĂƚĞ ŽĨ ĚŝƐƌĞƉĂŝƌ͘ dŚŝƐ ƵŶĨŽƌƚƵŶĂƚĞůLJ ƌĞƐƵůƚĞĚ ŝŶ ŝƚ ďĞŝŶŐ ƉůĂĐĞĚ ŽŶ ƚŚĞ ͚ ƚ ZŝƐŬ͛ ƌĞŐŝƐƚĞƌ ŝŶ ϭϵϵϲ͘ EĞǁ ƌĞƐƚŽƌĂƟŽŶ ǁŽƌŬ ĐŽŵŵĞŶĐĞĚ ϱ LJĞĂƌƐ ĂŐŽ͘
Enthusiasm Whenever I talk to design students I always avoid using the phrase “the real world.” Yet it is a term I 8LI ³VWX MW IRXLYWMEWQ -«Q RSX XEPOMRK EFSYX XLI TYTT]MWL IRXLYWMEWQ often hear used by students (and tutors, too): they talk XLEX QSWX HIWMKRIVW MRXYMXMZIP] JIIP JSV XLIMV WYFNIGX ¦ XLI IRXLYWMEWQ XLEX ´EVIW YT IZIV] XMQI [I ³RH E FSSO QEKE^MRI SV FPSK JYPP SJ GSSP [SVO about “joining the real world” or looking forward to ;LEX -«Q XEPOMRK EFSYX LIVI MW XLI IRXLYWMEWQ XLEX QEOIW YW ³KLX JSV tackling “real world projects”. They do this in a way KSSH HIWMKR MR XLI JEGI SJ STTSWMXMSR ERH MRHMàIVIRGI &YX MX MW RSX IEW] XS that suggests they think that the world of university maintain enthusiasm when you are confronted with the inevitable knockbacks that all graphic designers experience. And there’s a paradox here: and of college projects is somehow not real.
The Unreal World Adrian Shaughnessy
In fact, it is students who live in the “real world” and it is professional designers who live in an unreal world of irrational clients, impossible deadlines, and the lunacy of using design skills solely to add spin, hype and gloss to third-rate products and services. The professional design world MW E [SVPH SJ GEQSY´EKI ERH ¦ WSQIXMQIW ¦ HIGITXMSR -X MW E [SVPH [LIVI designers have to learn to dissemble, compromise and become masters of dozens of skills that have nothing to do with design. A good design education, on the other hand, provides a period of learning, self-discovery and engagement with design in its purest sense. Nor is a design education without its own demands and complexities: students have project deadlines; they are set demanding briefs: and as if all this wasn’t enough, they have grades to achieve. 7S ¦ RIZIV PIX ER]SRI XIPP ]SY XLEX EW E WXYHIRX ]SY EVI WSQILS[ RSX MR the real world: you are. But you are about to leave it for the unreal world of professional life, and this means that you have to ask yourself if you are ready for the transition from the real to the sometimes unreal: from the pure to the sometimes impure; from the meaningful to the sometimes meaningless. OK, so I am not painting an attractive picture of professional life, and in truth, the professional world is mostly well-intentioned, honest and productive. And just as I make a habit of never talking about the “real world” when discussing post-university life with students, I would never criticise anyone for the way they earn a living. We live in an unforgiving world, and just so long as we are not working for a landmine company or an oppressive regime, it is nearly always better to be employed than to be unemployed. -«H KS SRI WXIT JYVXLIV ERH WE] XLEX ¦ PERHQMRI GSQTERMIW ERH STTVIWWMZI VIKMQIW ETEVX ¦ XLIVI MW RS WYGL E XLMRK EW E FEH NSF MR ]SYV ³VWX JI[ ]IEVW But how do you preserve the idealism of student life in the face of commercial pressures? And how, when you are told from every angle that the only thing that matters is commercial success, do you preserve a vision of design as something more than an aerosol spray that gets squirted on dubious activities? Well, there are a few simple steps you can take to avoid XLI QSVI TEVEP]WMRK IàIGXW SJ TVSJIWWMSREP PMJI 1SWX SJ XLIQ EVI GSQQSR WIRWI XLI] EVI VI´I\IW XLEX GSQI REXYVEPP] XS WQEVX XLMROMRK HIWMKRIVW anyway. Interestingly, they all begin with the letter “e”.
without enthusiasm we can’t summon up the energy to win our battles: and if we don’t win our battles, our enthusiasm drains way. So we must XEOI IRXLYWMEWQ JSV KVERXIH [I LEZI XS ³KLX XS VIXEMR MX [LIR IZIV]XLMRK conspires against it. And that’s easier to say than do.
Experimentation The second essential requirement is experimentation. One of the best things about student life is you get a period during which you can experiment. Opportunities for experimenting become far less plentiful after graduation. Yet if you want to build a body of work that you can be TVSYH SJ ]SY LEZI XS ³RH XLI XMQI XS TYWL ]SYVWIPJ MRXS RI[ WSQIXMQIW uncomfortable situations. It is a common failing amongst designers that they reach a period of comfort and then, like a vehicle in deep sand, become stuck. The only way out of this is to experiment, and by doing so, to risk failure. Now, you might have to restrict your experimentation to your own time, and for that you will need the third quality I want to talk about.
Energy All designers think they need inspiration: they do. But more than inspiration, they need energy. You might think that since design is a passive EGXMZMX] ¦ TEWWMZI MR XLI WIRWI XLEX [I QSWXP] HS MX WMXXMRK HS[R ¦ ]SY HSR«X RIIH IRIVK] &YX ]SY HS =SY RIIH HSKKIHRIWW ERH HIXIVQMREXMSR ¦ ERH XS acquire these two attributes, you need energy. Lots of energy. Here’s what - QIER F] IRIVK] F] XLI IRH SJ QSWX TVSNIGXW [I EVI XMVIH ¦ TIVLETW IZIR exhausted. Yet this is when we are at our most vulnerable. Because we are running on empty, our judgment is weakened and we have a fatal tendency to accept the mediocre. It is only by summoning up additional energy when our mind and body tells us to quit that we will produce our best work. Energy always counts for more than inspiration.
Conclusion Looking at the work of the great designers, we often feel that it looks IàSVXPIWW ERH JVMGXMSR JVII ]IX [I GER FI WYVI MX [EWR«X 2SXLMRK KSSH emerges without enthusiasm, experimentation and energy. All the best designers I have ever known have these “real world” qualities in abundance. But you knew this anyway: after all, you are living in the real world already.
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Contributors Gaida Aburunnat Nadia Ali Hannah Ayres Jennifer Babey Craig Baldwin Dan Blake Kelly Broome Aeron Charity Dylis Tsz Wai Ching James D. Clark Alick Cotterill Sophie Cullen Tom Cuppage Jade Davies Rebecca Formstone Todd Geary Katy Gravett Chris Greenaway Brooke Harwood Luke Henley Emily Higgins Katherine Howe Oliver Humphries Alexander Jackson Carolyn Jones Victoria Law Rakhi Madhavan Pippa Murphy Colette Murray James Newlands Chris Phillips Emma Poulter Katherine Prescott Chris Reynolds Emma Ware Maddie Waters Suzanne Williams Georgina Wong Grace Xiaoyin YU Amy Zee
Gaida.a@hotmail.com nadia-ali@live.co.uk hannahayres@hotmail.co.uk Jbabey2001@hotmail.com craigsbaldwin@gmail.com dan_blake88@hotmail.com kellybroome@live.co.uk aeroncharity@hotmail.co.uk
07552489360 07825736680 07974 415086 07791 107164 07865398815 07540539666 07534278856 07716004669
http://gaidaaa.blogspot.com www.nadia-ali.co.uk www.hannahayres.com www.jenniferbabey.co.uk http://craigbaldwin.com www.danny-blake.com www.kellybroome.co.uk
james@silentplatform.com alick@alickcotterill.co.uk secullen88@googlemail.com tom@cuppyandpaste.co.uk jade@jadedavies.co.uk beckyformstone@hotmail.com toddgeary_1@msn.com
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alexander@visidual.com carolyn-jones@hotmail.com mail@velawdesigns.co.uk rakhima@ymail.com birdloversleague@gmail.com colette_murray@hotmail.com james.b.newlands@gmail.com chrisphillips_247@hotmail.co.uk info@emmapoulter.co.uk info@katherineprescott.co.uk reynoldscj@btinternet.com
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07809122916 07811364676 07723419966 07517225863 07794564723
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THANKS TO Bashir Makhoul Ed D’Souza All contributors Adrian Shaughnessy Andrew Foster %PP +VETLMG %VXW WXEà IWTIGMEPP] Holly Wales Kevin Newark The Winchester Gallery Press The Shoreditch Town Hall Printed by Newsfax International Ltd.