Tell us a little about yourself.
My journey with the University of Cumbria actually began as a student back in 1996, when the Brampton Road campus was still known as Cumbria College of Art and Design. After finishing school, I pursued further education here, which laid the foundation for my creative career. I returned to the university around 2005, initially teaching on the Graphic Design programme, before the Illustration programme had even taken shape. At the time, I was working primarily as a freelance illustrator, having also worked as a graphic designer. When the opportunity arose to help shape the new Illustration programme, I jumped at the chance. It's been incredibly rewarding to be part of the programme's evolution, and I’ve been committed to it ever since. I became Programme Leader in 2018, so it’s fair to say I feel a great deal of connection with the institute and programme.
Let us know more about your industry/practice background.
After earning my degree in Graphic Art from Leeds Metropolitan University (now Leeds Beckett), I launched my career in the creative industries, first as a graphic designer in the entertainment sector, and then as a cartoonist for the largest greeting card company in Britain. After several years of drawing teddy bears and designing Christmas cards, I decided to return home to Scotland and pursue a career as a freelance illustrator, specialising in editorial work for newspapers and magazines. With representation from a major illustration agency, I’ve had the opportunity to create work for clients such as The Guardian, The Financial Times, and Warner Bros.
It was during this period as a freelance illustrator that the University reached out to me, initially to teach Photoshop. What started as a small teaching role quickly grew, as did my enjoyment of working with passionate and creative students. Like many in academia, my transition from industry to teaching began quite organically, and I continue to find immense satisfaction in helping the next generation of designers and illustrators develop their skills.
What research area do you specialise in?
I have been working on an ongoing project called ‘On the X95’ for many years. The project began during my time as a freelance illustrator, around the time I embarked on my academic journey. The project, which involves documenting my fellow commuters on the X95 bus between my hometown and Carlisle, was where an interest in reportage illustration first took root. Using a sketchbook and, more recently, an iPad, I record passengers as they read, look out of windows, chat and (mainly) look at their phones. Many of the drawings have been shared on Instagram (@dwaynesdoodles) and published in zines and books which I have sold globally. I enjoy the fact that when I post these books across the world my fellow commuters are travelling far beyond their original bus journey’s destination.
As my professional focus shifted from the illustration industry to academia, I took the opportunity to revisit and reassess my own creative output—a process that became one of the most rewarding aspects of a professional transition. In 2016, I began an MA in Creative Practice here at the University of Cumbria, balancing this with my teaching responsibilities. This experience allowed me to deeply examine my creative process, which, at the time, had become primarily concerned with the editorial and client-based work I had been producing for nearly a decade.
Through the MA in Creative Practice, I was able to step away from that established body of work and reconnect with what has always excited me about illustration and graphic art: drawing. The MA in Creative Practice allowed me to devote all my creativity to this passion. My MA work, which evolved from years of drawing commuters on a bus, focused on reportage illustration, where I embraced a back-to-basics approach with just a sketchbook and pen. Through reportage drawing, I explored a variety of subjects, including family relationships, health crises, cottage industries, and the liminal space and experience of a hospital waiting room.
An animation I produced as part of a project exploring a family during a health crisis won an award at a prestigious creative showcase in 2017, and my final project, produced in conjunction with a local hospital, remains one of the most rewarding experiences of my creative career.
My primary interest and research subject continues to be observational drawing though in recent years, I have also dedicated considerable effort to exploring how online and digital tools can enhance the delivery and clarity of the illustration programme. This includes researching and implementing digital solutions to streamline, increase accessibility and clarity to all aspects of teaching, learning, and assessment processes. This ongoing research aims to integrate these digital tools effectively with longstanding and traditional approaches ensuring that students benefit from a comprehensive and modern approach to their education.
What modules do you teach and what is your favourite part of these?
I teach across all practical illustration modules, which is to say modules with a focus on the essential and technical skills of conceiving of and producing illustration work. One of the most enjoyable aspects of any module is the opportunity to share new artists and their work with students—and to have them introduce me to artists I may not have encountered before. The programme is at its best when the roles of teacher and student dissolve, and we all become enthusiasts (I’m more than comfortable being called a nerd or a geek) united by a shared passion.
However, the most rewarding part of my job is witnessing a student make a breakthrough. Whether it’s producing a fantastic, professional-standard outcome for a project or overcoming a small but personally significant challenge, these moments are incredibly fulfilling. We put a lot of effort into developing our assessment briefs, ensuring they align with creative development and industry practices. When a student fully engages with their work and experiences growth as a result, it’s immensely rewarding.
What makes your course different?
One of the things that makes our illustration programme stand out is its close relationship with the Graphic Design programme here at the University of Cumbria. Illustration and graphic design share a common language and understanding, and being part of a shared, creative hub enhances both disciplines. Our expansive, open-plan studio, shared by all years of both programmes, fosters an environment where ideas, understanding, and experimentation flow freely, enriching the learning experience of students studying both subjects.
Additionally, we pride ourselves on our strong industry connections and the opportunities we provide for our students to engage with professionals. Through our 'An Audience with...' programme, we regularly host a diverse range of guest speakers from illustration and related industries. Recent guests include Glyn Dillon (known for designing Robert Pattinson’s Batsuit), Dermot Power (concept artist for Harry Potter, Wednesday, Star Wars), Sara Ogilvie (The Folio Society, Bloomsbury Publishing), and comic artist Duncan Fegredo (Hellboy). These sessions offer students the chance to interact directly with leading practitioners, ask questions, and gain insights that are directly relevant to their own work and ambitions for the future.
What advice would you give to students considering studying on this course?
There are timeless pieces of advice that have guided commercial illustration for over 150 years: draw from observation regularly, practice and develop sophisticated skills with a variety of media and remain broadly curious by absorbing influences from diverse sources. However, in today’s landscape, my top piece of advice for prospective students is to recognise that not all illustration on social media, regardless of scale of its popularity, translates to having strong commercial prospects.
Our programme is designed to equip you with the skills and knowledge for a rewarding, lifelong career in illustration. This involves broadening your creative awareness, embracing new directions, and understanding that social media likes don’t always reflect commercial viability. We strive to ensure that by the end of your time with us, you’re producing work that you couldn’t have imagined at the start and that isn’t bound by existing ‘style’ or trend. If you leave having only improved on what you already knew, none of us have done our job properly (most of all you). Our goal is for you to push beyond your current abilities and explore new, as yet untapped, creative possibilities.
What’s your favourite thing about teaching at Cumbria?
My favourite thing about leading the illustration programme at The University of Cumbria is the sense of community. Being part of a small team in a small institution means I actually get to know my students. I know who’s into dark gothic stuff, who still watches Gravity Falls, who reads Batman, and who enjoys Harry Potter films. These connections allow us to discuss our subject in a way that’s directly applicable to the individual, whether it’s suggesting an artist I’ve discovered on Instagram, a particular
material or approach for a specific project or a useful Photoshop tutorial that will take a student’s work to the next level.
At its best, my job is all about being an illustration enthusiast surrounded by fellow enthusiasts. It’s incredibly fulfilling to spend my days discussing illustration, exploring new work, and engaging in creative projects with others who share the same passion.
Also the illustration section in our library.
And the cheese scones from our canteen.
And, finally...
Can you tell us an interesting fact about yourself?
I used to work in forestry so am one of the few lumberjacks who now teaches illustration at an undergraduate level.