The irresistible story of Robin Robin and her adopted mouse family is the perfect Christmas treat from the creators of the Christmas-themed film, Robin Robin, created by Aardman for Netflix. This picture book version of the story, beautifully illustrated by Briony May Smith, is perfect for sharing with young children. The mouse family all love Robin, and she is so keen to fit in, she pulls her feathers into ears . . . but nothing can make a noisy, rather clumsy, bird good at sneaking crumbs for the family without disturbing the dreaded cat! Robin Robin is a warm and funny story to win the hearts of families everywhere.

With cities becoming so vast, so entangled, and perhaps so critically unsustainable, there is an urgent need for clarity around the subject of how we feed ourselves as an urban species. Urban food mapping becomes the tool to investigate the spatial relationships, gaps, scales and systems that underlie and generate what, where and how we eat, highlighting current and potential ways to (re)connect with our diet, ourselves and our environments. Richly explored, using over 200 mapping images in 25 selected essays, this book identifies urban food mapping as a distinct activity and area of research that enables a more nuanced way of understanding the multiple issues facing contemporary urbanism and the manyfold roles food spaces play within it. The authors of this multidisciplinary volume extend their approaches to place making, storytelling, in-depth observation and imagining liveable futures and engagement around food systems, thereby providing a comprehensive picture of our daily food flows and intrastructures. Their images and essays combine theoretical, methodological and practical analysis and applications to examine food through innovative map-making that empowers communities and inspires food planning authorities. This first book to systematise urban food mapping showcases and bridges disciplinary boundaries to make theoretical concepts as well as practical experiences and issues accessible and attractive to a wide audience, from the activist to the academic, the professional and the amateur. It will be of interest to those involved in the all-important work around food cultures, food security, urban agriculture, land rights, environmental planning and design who wish to create a more beautiful, equitable and sustainable urban environment.

Dreams: Dorothy called it Oz, Alice called it Wonderland, but Nightmares call it HOME. When an evil shifter takes over the gateway to the realm of Dreams, it falls to 14-year-olds Parker and Kaelyn to stop him. Their only hope lies with Gladamyr, the Dream Keeper, but can they trust a Nightmare to save their world?

With cities becoming so vast, so entangled, and perhaps so critically unsustainable, there is an urgent need for clarity around the subject of how we feed ourselves as an urban species. Urban food mapping becomes the tool to investigate the spatial relationships, gaps, scales and systems that underlie and generate what, where and how we eat, highlighting current and potential ways to (re)connect with our diet, ourselves and our environments. Richly explored, using over 200 mapping images in 25 selected essays, this book identifies urban food mapping as a distinct activity and area of research that enables a more nuanced way of understanding the multiple issues facing contemporary urbanism and the manyfold roles food spaces play within it. The authors of this multidisciplinary volume extend their approaches to place making, storytelling, in-depth observation and imagining liveable futures and engagement around food systems, thereby providing a comprehensive picture of our daily food flows and intrastructures. Their images and essays combine theoretical, methodological and practical analysis and applications to examine food through innovative map-making that empowers communities and inspires food planning authorities. This first book to systematise urban food mapping showcases and bridges disciplinary boundaries to make theoretical concepts as well as practical experiences and issues accessible and attractive to a wide audience, from the activist to the academic, the professional and the amateur. It will be of interest to those involved in the all-important work around food cultures, food security, urban agriculture, land rights, environmental planning and design who wish to create a more beautiful, equitable and sustainable urban environment.

A Christmas treat for all the family! This classic illustrated book version of the Oscar-nominated Christmas animated film Robin Robin, created by Aardman for Netflix is a real treat. Written by the film's directors and beautifully illustrated by Briony May Smith, this charming book is set to bring lots of festive joy for any young child this Christmas. The mouse family all love Robin, and she is so keen to fit in, she pulls her feathers into ears . . . but nothing can make a noisy, rather clumsy, bird good at sneaking crumbs for the family without disturbing the dreaded cat! Robin Robin is a warm and funny story to win the hearts of families everywhere.

In 1987, Anthrax unleashed a heavy metal & pop culture touchstone with the release of their historic Among the Living album! Now Anthrax & Z2 invite you to explore the album like never before with this original anthology graphic novel! Each song on the album is given an original story by an amazing creative team, along with extra content and the introduction of the new NOTMAN designed by Greg Nicetero (Walking Dead)! Come on this dark journey into the '87 underground in America with these esteemed creators...

Mikey was born into a Romany Gypsy family. They live in a closeted community, and little is known about their way of life. After centuries of persecution Gypsies are wary of outsiders and if you choose to leave you can never come back.This is something Mikey knows only too well.Growing up, he rarely went to school, and seldom mixed with non-Gypsies. The caravan and camp were his world. But although Mikey inherited a vibrant and loyal culture his family's legacy was bittersweet with a hidden history of grief and abuse.Eventually Mikey was forced to make an agonising decision - to stay and keep secrets, or escape and find somewhere he could truly belong. Read the second part of Mikey's amazing story in Gypsy Boy on the Run

Lorna Robertson’s colourful paintings, often made with a combination of oil paint and collage, have a distinctly nostalgic tone. Shimmering female forms with swinging skirts from the 1950s or bonneted bathers from the 1920s jostle with richly described interiors and crowded tabletops. Hints and glimpses of tangible forms – a fashion model, for example, or a vase – appear and then fragment into patterns and explosions of colour. This new publication coincides with Robertson’s exhibition at Ingleby Gallery and is divided into sections that feature collections of recent large paintings by the artist (2015–2022), small paintings (all 2022) and works on paper (2016–2022), all of which demonstrate Robertson’s characteristic layered interpretations of the female form alongside recurring motifs such as hats, long dresses and flowers. Her drawings (2018–2020) offer fluid forms in ink, pencil and watercolour. An essay by art critic Hettie Judah explores Robertson’s work in terms of pattern, costume and architecture, drawing out key inspirations including tapestry, advertising and magazine design through abstracted forms. The influence of contemporary female painters and those from art history is further considered. In another text, Robertson is in conversation with artist and writer Mikey Cuddihy. This frank interview reveals much about Robertson’s intuitive working processes: from starting points, colour decisions, the rhythms of brushwork and considerations of scale, to the wider relationship between text, music, drawing and painting. The publication is edited by Ingleby Gallery, designed by Joanna Deans, Identity, printed by Albe De Coker, and co-published by Ingleby Edinburgh, and Anomie, London. The publication coincides with Robertson’s first solo exhibition 'thoughts, meals, days' at Ingleby Gallery, Edinburgh, in 2022. The artist is represented by Ingleby Gallery. Lorna Robertson was born in Ayr on the west coast of Scotland in 1967. She studied at Duncan of Jordanstone College of Art in Dundee and currently lives and works in Glasgow. Recent public solo exhibitions include 'Kodachroma', Glasgow Project Room (2013); 'This Dark Ceiling', Intermedia Gallery, C.C.A, Glasgow (2008); 'The Overlooked', Atelier Am Eck, Dusseldorf, Germany (2006); and 'New Paintings', 64 Osborne Street, Glasgow (2005). Robertson’s group exhibitions include 'Once Upon a Time', Flora Fairbairn, The Portman Estate, London (2022); 'Faces in the Water', Ingleby at Cromwell Place, South Kensington, London (2021); 'Brexit: Mail Art from a Small Island', Sipgate Shows, Düsseldorf, Germany (2019); 'Lorna Robertson and Robert MacBryde', Kingsgate Project Space, London (2019); 'Psychopathology of Everyday life', Glasgow Project Room (2011); and 'Vistas', Glasgow Project Room (2003). The artist was awarded the John Kinross Traveling Scholarship to Florence in 1990 and the Summer Scholarship, Hospitalfield School of Art, Arbroath, Scotland in 1989.