Illustrating the Lived Experience - Online Exhibition Masters Degree and study by Emma Clements.
- emclemmiecreativem
- 7 minutes ago
- 14 min read
Welcome to my online exhibition, here I will be showcasing the illustrations and research, from my Master’s degree journey. I have recently completed my Master’s degree with Falmouth University (online) graduating with a distinction.
This journey began with a need for self accountability, a way to push my knowledge further while I found myself standing at a crossroads in my life, asking myself, “What’s next for my career?”
Just below is the section to download my final report and the underlaying basis of possible future studes. Following this is six key illustrative projects which I will showcase with a summary of each and finishing with a Q&A.
Please feel free to download and read my final report. I have explored how the lived experiences of disabled people can help shape more inclusive illustration practice, particularly within children's picture books. Which could be used to support the future approaches to illustration education and study.
Project One
Girl in the Gaps
“Girl in the Gaps” was my final project, which is paired alongside my final report. It allowed me to put the theory of layers of representation into practice, using the sensory mapping to help support and shape the narrative. The idea behind “Girl in the Gaps” is that the audience, or reader, can place themselves within the story by relating to whichever character feels most familiar to them.
The new girl represents an outsider entering a classroom for the first time — someone trying to understand both the environment and the people around her.
Then there are the classmates, whose rumours about the “girl in the gaps” gradually spiral and become more exaggerated and silly over time.
Finally, there is the “girl in the gaps” herself, who is left open to interpretation. She could be overwhelmed, shy, or someone living with a disability that makes everyday interactions more difficult and often misunderstood by others.
What is important is that none of the characters are necessarily wrong. The story reflects how misunderstandings can naturally happen in everyday life, especially when people make assumptions without fully understanding one another. The story ends with a moment that is not the result of the “girl in the gaps” changing who she is, she is still in the gaps. Instead, the ending focuses on her allowing herself to exist within her own comfort zone. A lot of stories tend to conclude with a complete transformation, where a character suddenly changes the moment they make friends or are accepted. However, for many children, this is not the reality. Often, they simply need understanding, support, and the space to be themselves without pressure to change.
Because of this, it was important to me that the “girl in the gaps” remained true to herself throughout the story, while the people around her learned to accept, understand, and include her as she is.
It was a challenge to translate these ideas into illustrations and communicate feelings of misunderstanding beyond words alone. I focused heavily on the use of colour, keeping the palette simple and muted until the moment the “girl in the gaps” begins to open up to her classmates. I also used facial expressions and small hidden details throughout the illustrations (little “easter eggs”) to help tell the story visually and give readers clues about the characters and emotions beneath the surface.
And a little secret, just between me and you… the “girl in the gaps” is me. She is a representation of how I have often felt caught between worlds.
Project Two
Shadow of ME
Shadow of Me “Shadow of Me” is a project centred around narrative and social issues. The social issue itself became the foundation of the project, as I wanted to address the long waiting times children face when trying to access mental health support services in the UK.
This project is deeply personal to me, to the point where it led me to ask the question: should picture books always have a happy ending? Through this, I tackled ideas around self-authorship and how readers bring their own experiences and interpretations into a story.
The narrative follows a young girl who begins to notice shadows following her everywhere she goes. Over time, the shadows become overwhelming, until she finally reaches out for help… only to be told to wait, again and again.
The ending of the story is intentionally left open to interpretation. It can be seen as hopeful, or perhaps as something more tragic, depending on the reader’s own experiences and perspective. I wanted to approach the subject carefully, ensuring the story would not feel triggering, while still delivering an important message. In the end, the story becomes either a warning or an apology, depending on what the audience themselves may need to hear.
I have found that my work feels more emotional when created in watercolour, so this naturally became the starting technique for the project. The softness and unpredictability of the medium helped reflect the emotions within the story in a way that felt honest and personal.
The narrative is carried through visual metaphors. For example, the image of waiting for a bus symbolises the experience of waiting for support, the feeling as though you are standing still, waiting for something that may never arrive.
Colour also plays an important role throughout the story. Blue is used to represent both sadness and calmness, while yellow symbolises hope and optimism, but can also suggest caution or act as a warning. By contrasting these colours, I wanted to reflect the emotional complexity of the story and the uncertainty surrounding the character’s experience.
Project Three
Animal Calender
For this project, I wanted to create something that would also benefit my wider creative practice. I have always liked the idea of producing products such as cards, prints, and calendars, so this project became an opportunity to explore that further.
The early stages of the module involved experimenting with pin designs, and during this process I found myself wanting to create more animal characters. From there, it felt natural to explore a world centred around woodland animals. I also incorporated hearing aids into the character designs, helping to build representation within the work. The final calendar expanded on this idea further, featuring the original bat character alongside other deaf woodland animals within the same world.
I also experimented with a different medium for this project by using gouache. To be honest, within the timeframe I had and at the scale I was working, it probably was not the best choice. Thankfully, I was able to clean up a lot of the work digitally and fix some of the scanning issues afterwards. Although I do not think gouache is a medium I would rush to use again for a project under pressure, I could still see myself returning to it for more personal work where there is more freedom to experiment.
Project Four Senory Map
The main theme of this project was maps. Originally, I envisioned creating a map or booklet designed to help children engage with and enjoy my city of Sheffield. The concept was heavily inspired by the feeling of “We’re Going on a Bear Hunt”, following a group of children as they explored different locations around the city.
Realistically, I knew I would only have enough time within the module to develop a small section of the idea, with the hope of potentially pitching the full project to organisations such as Sheffield Museums or the Arts Council in the future. Because of this, the project became more of an impression or prototype of how the final booklet and map could look.
I initially focused on Weston Park as a starting point. Although I knew it would probably be fine to simply visit with a sketchbook and draw on-site, being deaf made me more conscious about making sure I was not stepping on any toes. Because of this, I reached out to Sheffield Museums to ask permission to use the location as part of my project.
Low and behold, the project unexpectedly turned into a collaboration. Abbeydale Industrial Hamlet, which is part of Sheffield Museums, was in the process of undergoing upgrades and happened to be looking into the idea of creating a sensory map. Suddenly, the project became the perfect opportunity to develop something with a real purpose and audience behind it.
You can download the map here https://www.sheffieldmuseums.org.uk/visit-us/abbeydale-industrial-hamlet/accessibility/
I had a lot of fun working on this project. It combined several different creative approaches, including collage, mark-making on paper, and small digital elements such as “peek inside” interactive features. The mix of techniques helped the project feel playful, tactile, and engaging, which suited the idea of a sensory map perfectly.
One of my favourite parts of the process was spending time with the staff at Abbeydale Industrial Hamlet. They showed me around the site, allowing me to experience the environment through touch, texture, and even smell. It became a very immersive experience and helped me think more carefully about how different people engage with spaces beyond just visually.
At the same time, it was also quite challenging. I had to find a balance between including textures, characters, and information while making sure the map did not become too overwhelming or difficult to read. Because it still needed to function clearly as a map, I had to carefully consider how much detail I could include without overcrowding the design.
Project Five
Using Light
This was the first project of the course, and it was a very challenging way to begin. In many ways, it felt controversial because it encouraged us to experiment outside of our comfort zones and approach creativity differently from how we normally would.
The project led me to create marks in response to sounds that I cannot hear, as well as produce an illustration using light inspired by a chosen image. Although the process was experimental, I naturally began building a story around it in my head.
I imagined a genie-like character emerging from the image, almost as though it had come to life to help my inner child break free. However, like many genie stories, there was also a darker side to it, the genie becomes more of a curse, taking the child away from everything she has ever known.
The narrative became centred around longing and the idea of wondering whether life would be better somewhere else, questioning if, in another life, the grass might truly be greener.
My memory of this project is already a little fuzzy, but I am trying to remember what originally led me to using light within the work. I believe that after creating paint marks in response to sound, I wanted to continue exploring the senses and experiment with ways of creating illustrations beyond more traditional, touch-based methods.
This led to a process of experimentation using paper cuts combined with string lights, allowing me to think about illustration in a more physical and sensory way. The use of light gave the work a feeling of movement and atmosphere that I had not explored before.
Looking back, I think this is one of the projects that could have really benefited from deeper exploration and more time spent developing the ideas further.
Project Six
Comic Strip
(and a few other bits to show and tell)
This comic strip was not a main project, but I like to include it because it was one of the first things I created on the course. In many ways, it set an underlying tone for the rest of my work, and the small “mini library” that appears in it even went on to make a cameo in later projects.
The brief involved another student giving us a theme, which we then had to develop into a three-part illustration (beginning, middle, and end). My partner was a little late in providing the initial prompt, so I was first given the word “spellbound”. Shortly after, I also received “book”. Rather than choosing between them, I decided to combine both.
At first, this led me towards a more traditional idea of magic books and libraries. However, I wanted to push the concept further by exploring more meaningful themes such as keywords, stereotypes, bias, and assumptions. From this, I developed a narrative based on the idea of misinterpretation and expectation.
The final concept featured a bird of prey and its assumed prey. It reaches into a library, and instead of the expected outcome, it ends up reading a book to all the forest animals. Looking back, I realise I may have had woodland animals on my mind quite a lot, as it seems to be a recurring theme across my work beyond just this project.
Q&A How has your creative process changed since starting the course?
I find that I tend to think more deeply about a subject, which naturally leads me to ask more questions and carry out further research in order to build a clearer understanding and find my own creative answers. There may be a deeper connection to my own work, as I am not drawing simply for the sake of drawing, but with intention and purpose behind it.
What has been the most challenging part of the degree?
I think real-life issues have had an influence on my work. As a deaf person and a parent, while I have found that my personal experiences often shape how I feel and how I approach projects, at times it becomes too much. I felt very determined not to pause the degree, even at times when it might have been the more practical option. I value how the course challenged me academically, particularly through deadlines and accountability, as it has helped me develop discipline and structure that I can carry forward into my professional practice. What surprised you most about studying? I’m surprised by how much I enjoy studying now. I struggled in mainstream school as a deaf child in a classroom where the teacher would be moving around, and I was expected to lip read while also writing notes. At the time, a lot of my energy went into simply trying to keep up, rather than actually processing and absorbing the information. In honesty, I don’t feel I had many opportunities to truly learn in that environment.
Now, it feels different. It’s like knowledge has finally opened up to me, especially when it’s within a subject I’m genuinely interested in. It’s no longer just about receiving information, but about how I can build on it, apply it, and push it further in my own practice.
What are you hoping to do after graduating? I know I want to continue developing my illustration career, but I would also like to progress further in my studies and deepen my understanding of disability representation from an illustration perspective.
One step towards opening up both of these possibilities is this online exhibition, which I hope will invite people in and encourage open conversations around my career and studies. When it comes to the next stage of study, I am aware that there are barriers I need to consider, including my disability, my location, and the fact that I am also a parent.
What has your experience of studying long distance been like? I have really enjoyed studying long distance. I think, because of my upbringing, I am used to doing things independently and figuring things out on my own. I also appreciate the level of control it gives me over my studies, for a large part of my life I didn’t always have much choice, whereas with long distance learning I do. If anything, the main challenge has been making sure I stay connected with my tutor and peers, rather than slipping into my own isolated bubble.
It has also made it possible for me to balance being a parent alongside working part-time within illustration. In addition, it fits around my disability well, as I often experience hearing fatigue and headaches. Working online allows me to manage my energy more effectively and create a better balance between study, work, and home life.
How do you stay motivated when working independently? Self-motivation plays a big part in this. Every time things have gone “wrong” in my life, I’ve tried to use that as fuel to keep going rather than holding me back. If someone tells me I can’t do something, it often has the opposite effect and pushes me to prove that I can.
I also rely a lot on holding myself accountable. I set deadlines for myself and treat them seriously, almost like having meetings with myself to stay on track. Of course, not every day is perfect, and some days just showing up for yourself is enough of an achievement.
I chose to do this course, and I felt I owed it to myself to see it through. How has your disability shaped your experience of studying? It is part of my creative voice, and part of who I am. My deafness is not everything I am, nor is it everything I want to be, but it has shaped my experiences in very real ways. In almost every major moment, it is present in some form, whether that is through barriers I’ve had to overcome or moments of feeling isolated in communication. For example, I can’t just travel somewhere without planning ahead. I have to think through potential challenges in advance and have a clear understanding of what is expected of me. In that sense, being deaf is closely tied to how I approach communication, planning, and problem-solving.
In meetings, I often need to speak at the beginning because of hearing fatigue, and I know that later on I may struggle more. I also benefit from knowing topics and agendas in advance, which supports lip reading and helps me stay engaged.
It is easy to focus on the challenges, but there are positives too. It has given me determination and a unique way of seeing the world. I feel I have an advantage when it comes to observing body language and human expression. I naturally people-watch, and that is often how the world makes sense to me, I observe from the outside how people connect and communicate. This perspective is something I can directly bring into my illustration practice and my understanding of visual storytelling. How has your experience influenced your creative practice?
A lot of my lived experiences influence the themes in my work, particularly ideas around isolation and finding your own voice. Many of my projects have felt quite self-reflective, almost like a form of self-healing, where an isolated inner child is now able to communicate and speak out through illustration.
It is not always heavy, though. A lot of my stories and drawings also come from escapism, from daydreaming and creating mental spaces I could go to when hearing became too difficult. In those moments, I needed somewhere my mind could go, otherwise life would have felt very overwhelming and, at times, quite boring.
This also comes through in the way I illustrate. I often include subtle moments that could be recognised as relating to hidden disability, small details that might resonate if you have experienced something similar yourself.
My experiences are also shaped not only from my own perspective, but from being a parent and observing my children go through similar challenges. That adds another layer of understanding and empathy to the work I create.
How do you balance studying or creative work with parenting?
It hasn’t been easy, especially as a parent to a child who needs additional support. A lot of it has involved late nights, fitting in small pockets of time where I can, and taking every opportunity to study or work when it appears.
Thankfully, things are becoming more manageable now. Both of my children are older and in very different places compared to when I first started balancing everything. I even find I have a bit more time for myself now, whether that’s going for walks, working out, or spending time with my dog.
I also didn’t have the largest support network. I do have my husband, but he often works on-call, and like everyone else, he also needs downtime. He supported me as much as he could, and in many ways he made it possible for me to study and work from home, so I owe him a lot for that. During my BA, things were at their hardest, especially when my child needed significant support. There were moments of feeling overwhelmed, lots of tears, and times where I genuinely felt like giving up.
I kept going, though. In a strange way, it became something for myself, almost like a hobby in the middle of everything else, something that gave me space to breathe.
Last Question, Are there any illustrators or artists who influence your work?
There are so many influences that I could give credit to, too many to list individually. I am easily inspired and I truly believe that almost anything can feed into my work in some way. Different artists have influenced different parts of my practice: one for brush strokes, another for colour, and others for how I build and develop my characters.
However, in terms of my studies, there are a few key influences that stand out.
Oliver Jeffers has had a significant impact on my understanding of illustration. His use of symbolism and fine art mark-making within his picture books has been especially influential. More than anything, he helped me realise that as illustrators we can create images, but it is ultimately up to the audience to interpret them. We should not try to control the viewer too tightly, but instead allow space for personal interpretation and experience.
Jon Klassen is another major influence, particularly in the way he can tell an entire story through something as subtle as eye movement and expression. I am also drawn to the way he leaves endings open, allowing the audience to sit with uncertainty and come to their own conclusions.
Rebecca Green is someone I deeply admire not only for her illustration style, but also for how she connects with her audience. The way she communicates through her writing and shares her process feels very open and personal. She represents the kind of illustrator I aspire to be in terms of building connection and voice. I just hope that, over time, I can develop my own unique way of writing and sharing my journey as an illustrator.
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