Amelia’s Magazine | Wrap Magazine: An Interview with Co-Founder Polly Glass

Polly & Chris by Gemma Cotterell
Christopher Harrison and Polly Glass by Gemma Cotterell

When I open Issue Seven of Wrap, I’m thinking of Princess Clara, Wooldoor Jebediah Sockbat, Foxxy Love, Toot Braunstein and the whole gang. For those of you who aren’t familiar with this wondrous cast of visual mockery, these are characters from animation parody Drawn Together, a TV show which pokes fun at our favourite 2D cartoonies, and also, the name of Wrap’s most recent issue. Wrap‘s Drawn Together puts a beady eye onto collectives, and the highlights of this issue include: Anthony Burrill, Peepshow Collective, Nous Vous, Pictoplasm, Studio Tipi, Print Club London, Hvass&Hannibal and Edition Biografiktion.

Wrap Magazine

‘Are four hands better than two?’ is the question at the nib of the latest installation of this illustration celebration. This “people power” issue not only explores the relationships between happily ever after collectives, but also plays matchmaker to a few of its own new ink-birds. There are some familiar faces here, making me think that the illustration world is pretty incestuous, but the overall effect is inspiring. This isn’t the first time I’ve had my mitts on a copy of the mag, and around Santa-time the Nordic Lights issue was like a security blanket for me; I carried it everywhere. There’s something very tactile and natural about yanking out the pages of a mag and the concept of this little magazine has me completely infatuated.

Wrap Magazine

Ripping a magazine is usually a painful, accidental and clumsy affair, caused by careless turning, or perusing in the tub. Wrap is meant to be ripped. With 5 pull out, reversible pages of double-sided illustration goodness, you can artwork-coat your gifts with this lovely ‘zine. Wrap seems to be everywhere I look these days, having stumbled across it via STACK, I’ve also found it hidden in a nook of the Ohh Deer online webshop. What could be better than dressing up your gifts in beautiful outfits before handing them over to your loved one? Undressing presents is half the fun of getting them after all. That and the ‘gift shake’; the little dance move you do when you first grab hold of a present to assess its potential insides.

Wrap is more than just an illustration magazine, it celebrates design and creative culture as a whole. Created by Christopher Harrison and Polly Glass it’s on the way to proving that print hasn’t passed its use-by date. I spoke to co-creator Polly Glass about how the pair got the mag off the ground and what they’re looking for in new contributors.

Wrap Magazine

What did you get up to before Wrap?
Before, and also during the early stages of Wrap, Chris and I both worked as jewellery designers in London for a fashion jewellery company – that’s how we met actually. We worked with a whole host of British brands including Mathew Williamson, Agent Provocateur, Ted Baker and Cath Kidston which was a great experience, and really helped us to see how bigger designs brands like that function.

Wrap Magazine

Wrapping paper is something many people overlook, has it always been a passion of yours?
I wouldn’t say it quite like that, no – although I do take pleasure in a beautiful wrapped present! For us, the wrapping paper element to Wrap is about it being the best way to show off the fantastic and hugely impressive work of our contributing illustrators, because the sheets are so nice and big. Also, as one of the main purposes of Wrap is to share illustrators work with other people, if our readers can pull out a sheet that has one of their favourite designs on, and use it to wrap up a present for their best friend, then they are carrying on that sharing process.

Wrap Magazine

How did you get the funds to publish the first issue of Wrap?
We funded issue one ourselves through savings – our print run was quite small, and we created a much simpler version of what Wrap is today, which made it relatively affordable to test out as an idea, and see how people would react. Luckily, people seemed to really like the concept of the magazine, and so from there, sales of the magazine have funded all future issues.

How does the financial model of the mag work now? Do you both work on it full-time?
Yes, we both work full time on the magazine, and we also have a team of brilliant freelancers who we couldn’t do without! Wrap is now 80 pages (compared to 24 in issue one!), so it takes a great deal of energy from all involved to make it what it is. Financially, magazine publishing is a hard industry to crack, but essentially the model is to make and sell lots of magazines! At the moment we have very minimal advertising in Wrap, so revenue comes mainly from sales, and we run nearly all the distribution ourselves in order to maximize profit and insure that Wrap is sold to the best shops possible, and ones that really understand what we’re all about. We also work firm sale (meaning they buy the magazines out-right) with our stockists, as this means every magazine that goes out the door has been paid for, which helps to reduce wastage and over-printing.

Chris from Wrap, by Karina Jarv
Christopher Harrison by Karina Jarv

Wrap uses vegetable based inks and 100% recycled paper, was making the mag environmentally friendly always a priority for you, despite cost?
Whether it’s the magazine, or our range of wrapping papers and prints, we always try to produce things in a considerate and environmentally friendly way – there’s no reason not to really. Printing can be a hugely wasteful industry, so we are very careful to only make things that we really believe in, and we only work with UK printers – a manufacturing industry we’re keen to support and promote.

Wrap Magazine

Issue Six focussed on Nordic lights, and Issue Seven on collaborations, how do you go about picking a theme?
There’s no particular method to our theme selection – really, it’s about delving into a subject or area that we think is interesting and relevant to the field of illustration at the time. We do also of course consider the time of year, so with the Nordic Lights Issue (our Winter 2012 edition) – we thought the idea of ten illustrators from across Scandinavia sharing with our readers their impression of a snowy, Nordic winter would be wonderful! And our new, seventh issue celebrates creative ‘collectives’ and collaborations – a way of working that seems to be growing in popularity and that we wanted to find out more about.

Polly by Alys Jones
Polly by Alys Jones

You mentioned that you visited Berlin for research, what’s been your best research trip so far?
Ooooh – we’ve been very lucky to go on a few research trips now. I loved Berlin, and our trip to Helsinki for the last issue was brilliant, if not a bit chilly, but for me, going to spend the day with graphic designer Anthony Burrill in sunny Rye was the best! He gave Harry (our editor) and I a super tour of the coastal town, including visiting ‘Simon the Pieman’ – his favourite cafe, and Adams of Rye – the traditional letterpress printers who he collaborates with to produce his famous posters, including the special one he’s made just for Wrap 7!

Wrap Magazine

I found a beautiful illustrated postcard inside my copy, is this something you’ll be doing in future?
Oh yes, we always try to include something a little special with each issue, like the postcards. Our subscribers all received a set of exclusive patterned stickers by illustrator Ed J Brown (who drew our title typeface in issue 7), with their delivery of issue 7 – we hope they liked them!

Who do you imagine as your typical reader?
From what we’ve seen, our readers can be pretty wide ranging, but typically, they are practicing creative people, and around 70% are women.

Wrap Magazine

Anthony Burrill produced a poster based on the latest issue, is it important for you to make Wrap more than just a magazine?
Wrap is about celebrating some of the best and most vibrant artists of the moment, and the more we grow, the more we find exciting ways to do that through the magazine and the Wrap brand! Last year we worked with four of our favourite illustrators to develop our first range of commercial wrapping papers, and so far this year we’ve worked with Anthony to produce his fantastic poster for Wrap, and the six illustrators in our ‘Make a Good Thing Happen’ project to produce a range of 3 limited-edition notebooks. We’ve had lots of fun, and have lots more ideas to work on!

Wrap Magazine

Your latest issue featured a whole host of illustrators, including Nous Vous and Peepshow Collective, how do you go about finding illustrators to work with?
We’re always on the lookout for new illustrators and designers to work with, whether it be through exhibitions, events or twitter and social media channels, but we’re also very lucky to get a lot of people contact us through our submissions email which is great. I suppose the more and more you’re immersed in an industry like illustration, the more you hear about, and know what’s going on. However we also love to go to the summer student shows by universities like Brighton and Kingston – they’re a great place to spot potential new stars.

Wrap Magazine
Do you think that “print is dead”?
This is a question we are often asked! No, I don’t think print is dead – but the industry is obviously changing and evolving, like lots of areas at the moment. I like that it’s actually making people more considerate and careful about what they print, which can only be a good thing.

Wrap Magazine

Photographs were provided by Wrap Magazine

Categories ,art, ,artists, ,collaboration, ,Collaborations, ,creative culture, ,design, ,drawing, ,Drawn Together, ,features, ,Gift, ,illustration, ,jessicasrcook, ,journalism, ,mag, ,magazine, ,Nous Vous, ,Ohh Deer, ,paper, ,Polly & Chris, ,Shellsuit Zombie, ,STACK, ,Stack Magazines, ,Subscription, ,Wrap, ,Wrapping paper, ,writing, ,zine

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Amelia’s Magazine | An Interview with Designer Laszlo Tompa

Lazlo Tompa

The title of this post is a little misleading as Laszlo Tompa is more than just a Designer. Not just a Ceramist or a Craftsman, he is more like a materials ‘magician’. His creations are half homeware item and half magic trick, and his Spiral Puzzle Box is particularly enchanting.

Having studied at Moholy-Nagy University of Art and Design in Budapest, Hungary, Laszlo has a real knack with clay and wood as well as a killer eye for design. Geometric shapes and space are his obsessions, and his wood pieces are all sensually smooth and designed right down to the smallest detail.

Lazlo Tompa
Lazlo Tompa

His wooden pieces fall into the following categories: Flower Hanging Lamps, Hydro Lamps, Cube Illusion and Spiral Box. The Flower Hanging Lamps are made from solid cherry wood with hexagonal and pentagonal pyramids forming the main structure. Light only points downwards in these nifty little ceiling lovers. His Hydro Lamps, inspired by ocean creatures that emit light, are made from solid wood, but have more of a deep sea vibe than than their flowery counterparts. These beauties let shards of light out in the main body of the lamp, unlike their floral brothers and sisters.

Cube Illusion is a wooden box with a lid, and looks a bit like a giant Ferrero Rocher (minus the golden foil). It’s a design sculpture and homeware piece made of complex shapes that appears to house a small space, but in actual fact is surprisingly roomy. The Spiral Box is part gargantuan snail, part labyrinth; at first impossible to open, patience and persistence lead to the discovery of a hidden drawer. I spoke to Laszlo about his talent for materials, his amazing creations and how he knew these nifty concepts would work.

Lazlo Tompa
Lazlo Tompa

How did you become interested in ceramics?
I had no special influence in my childhood. I encountered clay for the first time in a school workshop and I loved its limitless ductility. At Art High-School I spent time in the Department of Ceramics. After this I learned everything I know about clay at university.

Laszlo Tompa
Laszlo Tompa

You also work with wood, how did you first develop a love for this material?
Both my grandfather and my father were Craftsmen who did a lot of woodwork in their free time. As a child, I was delighted to see them shape wood and create new objects. Through several generations in our family, the wood-turning lathe was as common as a refrigerator in other families. Despite this, I was more attracted to ceramics, though I have enjoyed rediscovering wood during the past two years.

Laszlo Tompa

Do you find you find switching between materials difficult?
My starting point is the form, and I choose the material based on that. I think all Designers have to know the properties of the materials. I have no problem with changing materials.

Geometric shapes are a big feature of your work, have you always been interested in space and shape?
I’ve always liked Maths. While studying Ceramics I realised that tile geometry and tessellation is really interesting. After I realised this, I spend years studying it, and later I turned to designing 3D tiles.

Lazlo Tompa
Lazlo Tompa
Lazlo Tompa
Lazlo Tompa

Your work is really well thought out, what process do you go through to get to a finished piece?
Luckily I have a lot of ideas. Out of these I choose some that are worth pursuing. I make several 3D models on computer. When they are good enough I produce a prototype and I refine the ratios. For example this is how the computer version of Cube Illusion was created.

Lazlo Tompa
Lazlo Tompa
Lazlo Tompa

What kind of furniture is your own home filled with?
I prefer Scandinavian-style furniture.

How did you get the idea for Spiral Box?
I was interested in spiral forms at university and I studied all kinds of twisted plant shapes. Spiral Box was designed long after these. The idea came to my mind after studying the form of a worm. Preparation of the prototype was very difficult and complicated.

Lazlo Tompa
Lazlo Tompa

What have you got lined up for the year ahead?
I would like to return to tile geometry and make wooden wall tiles. I plan to exhibit them at the end of the summer and I have confidence that they will have similar success to my former works.

Lazlo Tompa

To see more of Laszlo‘s work check out his site www.tompakeramia.hu. All photos were provided by Laszlo Tompa.

Categories ,ceramics, ,Clay, ,copying lathe, ,craft, ,design, ,form, ,Furniture, ,geometry, ,jessicasrcook, ,Lazlo-Tompa, ,Moholy-Nagy University of Art and Design, ,shapes, ,Space, ,Spiral box, ,tile, ,wood, ,Woodcraft, ,woodturner

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Amelia’s Magazine | Folded Beauty: Masterpieces in Linen, Exhibition Review

Holburne Museum Illustration of the Holburne Museum by Hannah Smith

I’ve never been very napkin friendly. By which I mean, at meals, rather than lay one on my lap, I’m substantially more likely to leave myself open for the peril of meal related stains. A little tomato sauce here, some balsamic vinegar there, it all comes out in the wash in the end, right?! Although my napkinophobia is more likely down to remnants of childhood indignation than a genuine dislike of linen, it is with the interest (and hesitation) of a non-napkin user that I attended the Folded Beauty exhibition at the Holburne Museum in Bath to see the artworks of a genuine napkinophile.

Folded Beauty
Folded Beauty

Joan Sallas is the go-to guy for historic linen folding, and this exhibition is the first of its kind in the UK. Recreating examples of table decorations from high society in days gone by, these pieces offer a glimpse into the elaborate creations of napkin foldings past. Sallas’ interest in the art of textille folding was brought about through a fascination with the Japanese art of paper folding and there’s a definite appeal to this unique art, which Sallas has almost single-handedly revived. Centrepieces in the style of those that graced dinners in Royal European Court way back when make for dramatic art. These banquet-side fabric sculptures are based on designs and patterns that go as far back as Renaissance Italy and as far forward as the 17th Century when this dinner-table decoration practice reached its peak. Whether it’s a pair of doves with their beaks pressed together in comfort, or a griffin towering above the tabletop, the variety and skill in the pieces is the most impressive part of this exhibition. Animals and architecture are just a few of the things recreated through folds in this exhibit. Sallas, a Catalan cartoonist and origami artist, created all these works using ancient techniques and patterns with the help of his lovely assistant and a heavy dose of research.

Taking place between the 2 February 2013 and the 28 April 2013 this exhibition is part of Bath in Fashion and there’s a whole host of other stuff lined up on the calendar for this festival. For more information you can check out my listing for Bath in Fashion here.

Folded Beauty
Folded Beauty
Folded Beauty by Gareth A Hopkins
Folded Beauty by Gareth A Hopkins

Although before I entered this exhibit I imagined that it might be a little stuffy for Amelia’s, once I’m here, I understand the playfulness of the art form. Napkins and linen are shaped into snakes, tortoises, forts and even mountains as part of this renaissance of the Renaissance art of napkin folding. I’m a sucker for all things cute, and any exhibition that can put a historical context onto a fort filled with bunnies and birds is OK by me. The birds and bunnies are there as a nod to a particular fancy meal in 1593 where live creatures were captured inside a castle decoration and the gates opened so they could escape as the guests entered the room (accompanied by music and fireworks of course).

Folded Beauty
Folded Beauty
Folded Beauty
Folded Beauty
Folded Beauty

There are children here, I know there must be before I actually see any because I hear a parental voice repeat “don’t touch anything” at least three times in the same number of minutes. As I crouch down to take a photograph of the fabric snake below the main display table a little girl points at the snake conspiratorially and looks at me. “Ssssss,” she hisses and giggles. “Snake,” she says. She presses her hands against the glass and I imagine for a second how she might see the monochrome exhibition: as a Ballroom sized zoo. I hear her mother say one last time “don’t touch anything,” and they are gone.

The exhibition reminds me that fabric has a tang of cardboard-box-possibilities about it. In the same way a simple brown cube can become a space ship, a cave, an oven or even a submarine on a journey to the centre of the earth, these napkins have become creatures, mythical beasts, flowers and (humping) chickens. It reminds me of coming back to a hotel room after a long day at the beach and finding hearts or crocodiles made from towels on your bed. When I was little, a towel-made mother swan and a hand-towel baby signet were smuggled back in a suitcase by my parents for me, they still sit on my dressing table today. Such is the magic of creating something from nothing, and the potential lasting appeal of a fabric creation. Probably because of those two swans, this exhibition resonates with me in an unexpected way.

Folded Beauty by Louise Smith
Folded Beauty by Louise Smith
Folded Beauty by Louise Smith

Working from engravings and records, this virtuoso folder has brought alive, not just the art-form, but the napkins themselves. The centrepiece of this exhibit is a 1.5m high table fountain surrounded by marvelous heraldic beasts. All the elements of the napkin creations that appear in the exhibit are taken from designs from the Baroque era. It’s great insight into the elaborate dinners of ye olden times and a brilliant example of the potential of fabric. There’s even the opportunity to have hands-on group lessons from the artist to shed light into how these wonderful linen beasts are made.

Folded Beauty
Folded Beauty
Folded Beauty
Folded Beauty

When you sit down and write exhibition reviews, you discover that if there’s one thing that museums don’t actually provide all that much of, it’s information. This might sound like a strange observation, but when you’re writing a review, a few sentences hardly seems long enough to satisfy your own interest in a piece, let alone the readers. Especially when museum info sheets have been oversimplified to such a degree you can usually count the facts you’ve learnt on one hand. We leave at closing time and when I ask about the possibility of more information, the staff, all around my age, just look at me slightly flumoxed. “We have postcards,” they say. I politely decline.

Folded Beauty by Karolina Burdon
Folded Beauty By Karolina Burdon
Folded Beauty by Karolina Burdon

This show is in partnership with Waddesdon, Nr Aylesbury, Bucks which will host the exhibition from from 22 May to 27 October 2013, meaning that if you’re not located in the Bath area, you might still get a chance to see it. Although the exhibit is moving to a different museum later in the year, once his shows are over Sallas is known for unfolding all his pieces and starting again. This reminds me of short story The Destructors, which I haven’t read, but is infamously mentioned in Donnie Darko. In the story destruction is suggested as its own form of creation. In the same way, the destruction of each of these napkin creations, leads to a new set of wonderful linen beings and objects.

As we exit I fold the exhibition pamphlet in my hands, running my fingers across the paper until it resembles an airplane. I wait for the first gust of wind and I let it go. I don’t look back.

Folded Beauty
Folded Beauty
Folded Beauty

The Folded Beauty exhibition at the Holburne is part of Bath in Fashion and is open between 2nd February 2013 and 28th April 2013. This exhibition is free.

Categories ,Bath, ,Bath In Fashion, ,fabric, ,Folded Beauty, ,Folding, ,Gareth A Hopkins, ,Hannah Smith, ,Holburne, ,jessicasrcook, ,Joan Sallas, ,Karolina Burdon, ,Linen, ,Louise Smith, ,Napkins, ,origami, ,renaissance

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Amelia’s Magazine | An Interview with Yasmin Dilekkaya of Yas-Ming Ceramics

Yas Ming ceramics by Lauren KellyYas -Ming by Lauren Kelly

I’m a big fan of collaborations and the wonders they can produce, and Yas-Ming Ceramics is no exception. Begotten from a project between Yasmin Dilekkaya and Ming Wai Sun during their time at University for the Creative Arts in Rochester, these animal mugs, bowls and other items could give the Urban Outfitters homeware section a run for its money. Talking-pieces as well as beautiful kitchen thingymabobs, their handcrafted ceramics are slip-cast, with press moulding and hand building also used in their creation.

Yas Ming
Yas Ming  (1)

Fun is vital part of the brand and the product lines are named accordingly: Moo Cups, Rawr Bowls, Oink, Squeak and Nay. The mugs are my fave, available with an animal head or a bum on the mug instead of a handle, you can choose from a delicate giraffe, fierce lion, stern horse, cute pig, grumpy cow and majestic ram. There’s all sorts of other stuff too including bowls with animal faces and posteriors, dishes with adorable characters patiently watching you munch down your nosh, and even little ceramic chopstick holders that let your eating implements have a quick rest.

Having bumped into Yas at the Ohh Deer Pop-Launch and spent an evening with her talking about ceramics, I can confirm that not only are the products from this exquisite little brand lovely, but the people behind it are too. I spoke to Co-Founder Yasmin Dilekkaya about mugs with bums and getting a creative company off the ground.

Yas Ming
Yas Ming

Can you tell me a little about both yourself and Ming?
We met while we where studying on an Applied Arts degree, Ming Wai was born in Hong Kong and is now living in the UK with her husband and daughter. I have a Turkish Cypriot background, but born and grew up in England. Our multicultural backgrounds were a stimulus and inspiration to us while designing and making at university.

Yas Ming by Lilly Allen
Yas-Ming by Lilly Allen

How did you get the idea for the mugs? 
In our final year at uni, as a year group, we had to raise money for our end of year Graduate Show. At this point I was making a set of Turkish coffee cups and Ming Wai was making beautifully elaborate 3D ceramic picture frames that had animals coming out of them.  We had the idea of attaching the animals to the cups so we had a product that we could sell around university.  The cups were really popular so after Graduation we decided to see how much further we could push the idea.

Yas Ming
Yas Ming ceramics by Lauren Kelly
Yas -Ming by Lauren Kelly

Why did you start making the mugs with ‘bums’?
In the beginning we experimented a lot with cutting the animals in half and seeing where they worked on the cups/bowls and we thought it was a fun idea to have bums as handles as well as the heads.

Which events have you been at in the last year, and what do you have planned for future?
In the past year we have been part of lots of great events from trade shows to markets and pop-up shops. We have had the opportunity to work with some fantastic organisations. Highlights include being selected by The Secret Emporium to be part of their Christmas Market and their Boxpark Pop-Up. Also, exhibiting in Launchpad at Pulse, getting to meet lots of new potential stockists and being part of the Ohh Deer Pop-up where we have been asked to run a ceramic workshop. We have another pop-up with Crafty Fox and Brixi next month, with lots to look forward to in the coming months.

Yas Ming
Yas Ming

What kind of reactions do the pieces usually get? 
They generally get a great reaction, sometimes it takes a while for people to register what they are looking at, and you can watch as their face goes from confused to a smile. There are always lots of smiles, laughter, and people love to pick them up and try out holding them.

Can you explain the process that goes into making the mugs?
We use moulds to cast the animals and moulds to cast the cups/bowls/dishes, once they are out of their moulds the two pieces are carefully attached together by hand and put into the kiln for the first firing. They then get glazed and put into the kiln for a second time.

Yas Ming by Lilly Allen 2
Yas-Ming by Lilly Allen

Is handcrafting your products important to you, or do you think in future you would consider mass-production? 
It is important to us, we use traditional techniques and are proud that each piece is touched and crafted by the hand of a skilled craftsperson. It gives the work personality and quirks that you would not get from factory mass-production.

Yas Ming
Yas Ming

Do you have a favourite animal?
That’s such a hard question, I have favourite animals for different products. I like the Rat Oink because I like the way he looks when he has sauce in the dish. The Cow Rawr is also a favourite, I use it for my cereal most days. The Giraffe Moo I also love as it’s is beautifully elegant.

What’s the greatest challenge of setting up a business? 
Like a lot of new businesses we have had a huge amount of challenges, ours were mostly kiln problems and production issues at the start. Now we have some great people in Stoke helping us produce the products, the challenges have changed.

How do you take your tea? 
Two sugars and not much milk.

Yas Ming
Yas Ming by Nikki Miles
Yas-Ming by Nikki Miles

To get your hands on these Baa-utiful ceramics, check out the Yas-Ming website at www.yas-ming.co.uk

Categories ,animals, ,Applied Arts, ,Boxpark, ,Brixi, ,cast, ,chopsticks, ,Clay, ,Crafty Fox, ,glazed, ,Graduate Show, ,graduation, ,Homeware, ,jessicasrcook, ,Lauren Kelly, ,Lilly Allen, ,moulds, ,Mugs, ,Nikki Miles, ,Ohh Deer, ,Pulse, ,The Secret Emporium, ,trade shows, ,workshop, ,Yas-Ming, ,Yasmin Dilekkaya

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Amelia’s Magazine | An Interview with illustrator Hattie Stewart

Hattie Stewart

London-based Hattie Stewart, a ‘professional doodler’, originally from Essex, is taking the fashion world by storm with her ‘doodle-bombed’ magazine covers. Not just limited to putting her mark on mags, she’s also done a whole range of stuff from shop-fronts to call-girl cards. Youthful, quirky and comic book-esque, Hattie pens a place where all things happy, cartooney, dark and urban make an appearance. This exuberance with a tint of dark humour reminds me a little of Bart‘s beloved Itchy & Scratchy. Bold colours, unique characters, a wink and some swag all form part of her signature style. She’s a busy girl and Amelia recently mentioned Hattie in a review of Pick Me Up Graphic Arts Festival 2013.

Hattie Stewart

Having graduated from Kingston University, Hattie Stewart has worked on projects with House Of Holland, Marc Jacobs and Adidas to name a few. Her work is proving popular across the globe and has been exhibited in Miami, New York, Berlin and London. I spoke to this young illustration idol about graduation, her personal pen preference and how doodling her mark on the world is getting her eye-marked for great things to come.

Hattie Stewart

How do you get the ideas for your doodles?
I have no idea! Sometimes I like to pore over copies of Craphound to get ideas for motifs, but mostly I just start drawing. The best ideas always come from practice and the simple act of just drawing.

Do you feel like London is tied to your identity as an illustrator?
I guess so, I think the fun-loving attitude of my work with certain levels of underlying sarcasm is definitely an identity I would characterise with London.

Hattie Stewart
Hattie Stewart

Your style has a comic book feel, what comics did you read as a kid?
I was obsessed with Dandy and Beano comics but especially Beryl the Peril. She ruled. My interest in strong comic book styles and larger than life characters definitely began at a young age. My uncle’s always drawn comic book characters and taught me a lot about developing a style.

How did the reality of life after graduation compare to your expectations?
It kind of went more or less as I’d imagined. I knew work wasn’t necessarily going to happen straight after uni and I’d have to work really hard and have many part-time jobs before things started kicking off. Because I’ve been fortunate in that I’ve always wanted to draw, I had a feeling that if I worked as hard as I could and tried to maintain a good attitude things would eventually happen for me. It’s wasn’t easy and I definitely kept looking for many different opportunities and work.

Hattie Stewart
Hattie Stewart

Do you think your degree was an important part of your development as an illustrator?
Yes, definitely. It taught me what I wanted as an artist and who I wanted to be and the people I met helped form my character and became so valuable to me. I do think it’s an experience everyone should have – sometimes defining your character helps develop your work, and then you have an amazing wealth of facilities and experienced tutors to help your work grow. You definitely have to have faith in yourself though and listen to yourself and follow your instincts as much as you listen to and accept the advice offered, there always needs to be a balance.

Hattie Stewart

Hattie Stewart

Hattie Stewart

How did you get the idea to start doodling on mag covers?
I was watching telly and a copy of Dazed and Confused was sat in front of me. Like so many people I just started aimlessly doodling on the cover and when I’d finished thought it looked pretty cool – it all developed from there!

You’ve had some big clients, like Urban Outfitters, Luella, Diesel and Adidas, are there any big names you really want to work with in the future?
I’m not sure really. I know I’d love to do some set design and big 3D set pieces/ props! There are so many things I want to do with my work it really depends on who will let me do it rather than who it is I do it for.

Hattie Stewart
Hattie Stewart

I saw that you did an awesome project for Soda Pop illustrating call girl cards, how did this come about?
There is a magazine called Gypse Eyes and they were excepting contributions for their ‘Food + Sex’ issue, then the idea of the call girl cards popped into my head! My friend Jessica Abou Nassar who runs Soda Pop and the amazing Ghetto Nailz wanted to collab with me and I suggested using these – she agreed and the t-shirts were created! It was a great project.

Hattie Stewart
Hattie Stewart

You describe your style as ‘cheeky’, do you think that you like to take risks as an illustrator?
Absolutely. It’s important taking risks in all sides of life – How else does anything change? All the best ideas and opportunities come from moving outside of your comfort zone and as an artist that is extremely important.

Colour is an important feature of your work, what are your favourite shades?
Pink, especially fluro pink. In fact anything fluro. Right now though I’m loving primary colours! Especially red, always red.

Hattie Stewart
Hattie Stewart

What type of pen do you use?
Posca! The only pens I use and they go on every surface. I would never recommend any other but then again that’s just my preference.

Do you think the internet has made visual culture a vital part of everyday life?
Oh absolutely. It’s also made things move and grow very quickly, which can be thrilling but also exhausting. Trying to make and keep yourself relevant and motivated when there is so much talent and ideas constantly on show in front of you, it can be inspiring and demoralising at the same time. Ultimately though knowledge and learning and the immediacy of connecting to people you wouldn’t otherwise be able to contact is amazing.

Hattie Stewart

All the images in this post were provided by Hattie Stewart. You can see more of Hattie’s work on her portfolio and you can find her on Tumblr and Twitter too.

Categories ,Adidas, ,Beano, ,Beryl the Peril, ,cartoons, ,cheeky, ,comic books, ,Craphound, ,Dandy, ,Dazed and Confused, ,Diesel, ,doodle, ,doodle-bomb, ,draw, ,drawing, ,Gypse Eyes, ,Hattie Stewart, ,House of Holland, ,Jessica Abou Nassar, ,jessicasrcook, ,Kingston University, ,london, ,Luella, ,Marc Jacobs, ,Neon, ,pens, ,pink, ,Posca, ,Soda Pop, ,Urban Outfitters

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Amelia’s Magazine | An Interview with Illustrator Tom Hughes

Tom Hughes

Tom Hughes, aka Hyoos, is an Illustrator and Designer whose favourite word is ‘blimp’. Studying Animation at Falmouth, he’s currently working on some great projects, including cover art for Music Producer KickRaux and Singer-Songwriter Elly Jupp. Having trademarked his alter ego Hyoos, he’s hoping to spend the next few years building up the brand. Tom has plans to start collecting watches and a love of outer space and Wales, he’s also about to take the first steps towards forging a career in illustration. With all things comic and creepy as part of his signature style, you can’t but help be drawn (geddit?!) into his scary and intriguing world.

Tom Hughes

Whether it’s a panda wearing a giraffe Kigu-style onesie (with a sprinkling of superhero), a dinosaur indiscreetly parping, or a grimacing planet earth, his drawings are always raw, grumpy and, most importantly, engrossing. I spoke to Tom about the first time he picked up a pencil (a Tuesday) and his plans for post-university life.

Tom Hughes

Can you tell me a little about yourself?
I am an aspiring Illustrator and Designer from Falmouth, Cornwall.

How would you describe your illustration style?
Quite creepy and realistic but with a touch of humour added in some places. I love a bit of wordplay.

Tom Hughes

What are your influences?
Anything different and unusual really, at the moment I love looking and finding animals that people forget exist and drawing them

What’s your dream career?
To be a full time Illustrator, maybe selling my designs on T-shirts…

Tom Hughes

How do you make your images?
I usually draw them freehand on paper with my trusty pencil and then scan them/take a photo of them to then put them on the computer to make them digital and add colour.

What’s the most valuable lesson you’ve learnt from uni?
It’s all over WAY to quickly. I did get some experience on freelancing which will hopefully help me in the future.

Tom Hughes

What do you have lined up for the future?
I am working on making my name HYOOS known around, and getting it an ‘internet presence’. Fingers crossed I get a lucky break someday.

What kind of projects have you contributed to in the past?
I have contributed in many different random projects, too many to mention. My favourites are ones where I get the creative juices flowing and design fun and quirky things!

Tom Hughes

What would win in a fight: a pencil or a computer mouse?
Pencil any day!! The mouse is a boring piece of technology that would probably just flip over and struggle to find its feet again..

Do you remember the first time you got your hands on a pencil?
I do, I think it was a Tuesday. I haven’t looked back since.

Tom Hughes

Favourite Illustrator?
Mr Keaton Henson.

Fill in the blank. You find illustration____________
EXCITING!

Tom Hughes

You can see more of Tom’s work on his portfolio site www.hyoos.co.uk

Categories ,Animaltion, ,comic, ,Cornwall, ,coverart, ,creepy, ,dark, ,Digital Art, ,Elly Jupp, ,Falmouth, ,Hyoos, ,illustration, ,illustrator, ,jessicasrcook, ,Keaton Heston, ,KickRaux, ,pencil, ,Technology, ,Tom Hughes, ,Tuesday

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Amelia’s Magazine | An Interview with Kathy Shenoy, Creative Director of Ethical Design Shop Shake the Dust

Kathy Shenoy by Louise Smith
Kathy Shenoy by Louise Smith

Shake the Dust, is an online shop which sells everything from wooden heart-shaped pendants to fluoro vases. Creating relationships between emerging British designers and ethical producers, this green-minded boutique produces hand-made, luxury products perfect for shoppers with an environmental conscience.

We’ve mentioned Shake the Dust before and Amelia nods to them in her round-up of Christmas Gift Ideas 2012. If you like your furnishings to come with peace of mind and your placemats to come from ethical producers, then Shake the Dust is your new one-stop port of call for all for all your nesting instincts. Not only is it supporting the British creative industry in its time of need, but Shake the Dust is also supporting ethical production pathways. If you want furnishings and accessories with a squeaky-clean past and ethical styling, then these are the products for you. Having recently made appearances at East London Design Show, Pop Up Britain Xmas Shop and Southbank Designers Makers Christmas Market, the future is sure to have lots on store for this socially responsible businesses. Whether it’s an Aztec Snood or a Gone Rural Dining Set, you can rest safe in the knowledge that you’re getting a product from a contientious supply chain without breaking the bank.

I love a start-up with a good back-story and so I spoke to Kathy Shenoy about the tale that led to ethical brand Shake the Dust, and discovered how the seeds of the business were planted.

Alice Pattullo Harvest of the Sea
Rosecraft threads

How did you get the idea to start your own business?
The business was conceived following first-hand experience of living and working with those trapped in the poverty cycle and wanting to help grow a creative economy. I saw a connection forming when I moved back the UK and witnessed the struggles faced by emerging UK creatives faced with an over-saturated industry and the impact of the recession. As a creative graduate myself, I understand how hard is it to bridge a gap between independent creative practice and making a sustainable living.

Stemming from my textiles degree, passion for design and professional experience in the arts industry, I decided to build a business that linked my experiences and the people I had worked with there to new and adventurous opportunities in the UK that could connect people and ideas.

Alice Pattullo My Word

You spent three years living and working in Southern Africa, what did you learn from this experience?
I met so many people living in Swaziland, from rural artisans to top international designers and felt that there is a real need to connect all these talented people in some way. It took me a long time to figure out how that would manifest, and how I would fund it (!) but eventually Shake the Dust was born at the end of 2012. Living in a place with a relatively small creative industry gave me an opportunity to explore my creative direction to a degree that would be much harder to accomplish in the UK. But what I achieved and the inspiring people I met gave me a lot of confidence to branch out on my own over here.

Baobab Batik Protea Cushion

What made you decide to setup an ethical brand in particular?
The primary focus of Shake the Dust is to work with partners who share my philosophy for socially responsible business. I want to prove that investing in and developing creative economies can really impact on the lives of those living in poverty. This is particularly true in parts of the world where creativity has always been in abundance but which needs to move with the times to be sustainable. We have so much talent in the UK, but in an over-saturated creative industry, emerging designers struggle to find work and start producing without having to buy huge minimums from big factories. Shake the Dust creates opportunities for collaboration between designers and producers. Designers get to work with new and unique materials and processes; producers get new fresh and contemporary designs to grow a UK market.

The term ‘ethical’, to me, means transparency through the supply chain and clear communication about producer’s good working practices and fair prices. But there’s no reason why an ethical business can’t also compete with mainstream design trends and remain fresh- part of the reason I started the business was to prove that there’s no excuse for ethical products to be either naff or too expensive.

Dyed grass drying in the sun
Rainbow Mat

Do you design any of the pieces yourself?
The first stage of launching the business has been to work with producers and designers on their existing products. I have worked with them to either select and adapt or make new designs/colourways and prints which suit our market. I’m currently designing a new Shake the Dust collection in partnership with a new producer which will be unveiled in the summer.

Gone Rural Bonakele Block Weave Set Red
Gone Rural Fluoro Fabric Vases
Gone Rural Placemats

Which designers are you working with right now?
I have collaborative projects on the go with illustrator Alice Pattullo and textile designer Kangan Arora which I can’t wait to launch! My very talented sister [Josie Shenoy] is part of my ‘in-house’ creative team but is also “>launching some of her new products with me soon, including lampshades and new prints

GoneRural Patchwork Baskets

Grass on hat

Are you looking for future collaborators? What do you look for in a designer?
Absolutely! I’m really open to hearing from anyone from illustrators to jewellery/print/ceramic/textile/furniture designers who are interested in partnering with us. Shake the Dust sells designer’s own products as well as commissioning new collaborations- so people need to be open to new ideas and good at communicating and working with others. It’s an opportunity for designers to work potentially with completely new and unexpected materials which can be exciting but also potentially a challenging experience! Anyone who is interested can get in touch with us.

Josie Shenoy prints
Josie Shenoy Notebooks

You sell a range of products, is there anything you’d love to sell but don’t currently?
I’d love to have furniture and lighting. We’re launching a jewellery range very soon which is something that I’ve wanted to expand on for a long time.

Mongoose Cow Apron
Mongoose ladies toiletry bag cows

Are the products created uniquely for Shake the Dust?
Currently, most of the products are existing product lines that have been adapted and selected for our market. It was important at the start to make sure the business could be sustainable and also to help support our partners and establish a working relationship first. This has been done by helping them develop their existing lines before spending a lot of time and money on developing completely new products. We are launching the collaborative projects this year which is very exciting and is a very unique business model.

Mongoose Nordic Bag
Mongoose Wonderland Satchel Lime

What plans do you have for the brand in future?
We are launching a number of new products in May at Clerkenwell Design Week, where we will have a feature shop in the Farmiloe Building. There will also be a few pop-up events throughout the year, dates and venues to be announced! In terms of the long-term future I hope to be able to start development projects and an exchange programme for both designers and our artisan producers by the end of the year.

Tintsaba Heart Pendant Wood and sisal

Unless otherwise stated, images were provided by Kathy Shenoy.

Categories ,accessories, ,Alice Pattullo, ,British designers, ,Clerkenwell Design Week, ,Creative Director, ,ethical, ,fluoro vases, ,green, ,Homeware, ,jessicasrcook, ,Kangan Arora, ,Kathy Shenoy, ,Louise Smith, ,poverty, ,producers, ,Shake the Dust, ,Southern Africa, ,sustainable, ,Swaziland, ,UK

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