Amelia’s Magazine | Ong-Oaj Pairam: London Fashion Week A/W 2014 Catwalk Review

Ong-Oaj Pairam by Robyn Wilson-Owen

Ong-Oaj Pairam by Robyn Wilson-Owen.

Brighton University graduate Ong-Oaj Pairam built on his first Fashion Scout catwalk collection, with a slick offering designed to appeal to ladies who lunch… and go out to lots of lavish parties. His muse for the season was Ursula from Disney’s Little Mermaid though this wasn’t immediately apparent in this 50s influenced collection, which included pretty cinch waist crop jackets and matching pants, A-line skirts and swing dresses for daytime, following through to dramatic embellished strapless floor sweeping frocks for night, all worn with plump red lips and carefree updos.

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam A/W 2014 by Angelica Moreno

Ong-Oaj Pairam A/W 2014 by Angelica Moreno.

Bright primary colours were worn with more subtle monochrome prints that were inspired by the markings of dangerous animals and the work of famous illustrator Charlie Harper. For the man who might care to dabble in high fashion there were some dapper leather jackets and a fabulous high collared pillar box red suit with peacoat styling.

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

Ong-Oaj Pairam AW 2014-photography by Amelia Gregory

All photography by Amelia Gregory.

Categories ,A/W 2014, ,Angelica Moreno, ,Brighton University, ,Charlie Harper, ,Disney, ,Fashion Scout, ,Freemasons’ Hall, ,Little Mermaid, ,Ong-Oaj Pairam, ,Robyn Wilson-Owen, ,Ursula

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Amelia’s Magazine | Ong-Oaj Pairam: London Fashion Week S/S 2014 Catwalk Review

Ong-Oaj_Pairam_by_Novemto_komo
Ong-Oaj Pairam by Novemto Komo.

Having already done a preview interview with Brighton University graduate Ong-Oaj Pairam I was pretty excited to see more of his collection, which was inspired by Drew Barrymore in ET. But whilst the moon shaped invite may have promised great things in terms of reference the final outcome was not what I expected, by a long shot. Original inspiration be damned, this was a sweet collection of party dresses with a slight 80s vibe. Models wore their hair loosely curled and brushed to one side, shirt dresses were pulled in tight with skinny belts, and delicate lace butterflies bounced around on waists and hemlines. I particularly liked matching embroidery and print that appeared in spikes of red and blue across a twosie shorts suit and on both shirt and pencil dresses. Drew Barrymore may well have grown up to to be this well dressed, but this was not how I remember her back in the day.

Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam SS 2014-photography by Amelia Gregory
Ong-Oaj Pairam S/S 2014. All photography by Amelia Gregory.

Categories ,80s, ,Brighton University, ,catwalk, ,Drew Barrymore, ,ET, ,London Fashion Week, ,Novemto Komo, ,Ong-Oaj Pairam, ,review, ,S/S 2014

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Amelia’s Magazine | Ong-Oaj Pairam: London Fashion Week S/S 2014 Preview Interview

ONG-OAJ PAIRAM by Gaarte
ONG-OAJ PAIRAM S/S 2014 preview by Gaarte.

Thai born designer Ong-Oaj Pairam takes to the catwalk this season as part of Fashion Scout at the Freemasons’ Hall. Having trained with the likes of Proenza Schouler and Roland Mouret, he combines precise tailoring with an eye for decorative detail. I caught up with Ong-Oaj for an exclusive preview of the new collection.

Ong-Oaj Pairam Autumn:Winter 2013
Ong-Oaj Pairam A/W 2013.

You studied at Brighton University (so did I!) What is the best thing about the course these days?
I found the course really tough, and found I had a hard time just keeping my head down. The beauty of studying in Brighton is the ability to escape from it all when you need to switch off. You are surrounded by the beautiful countryside and the sea. The aftercare I have got from my tutors has been really valuable and they have been really supportive of me launching my own brand. The friends I made at uni are friends for life: many are taking the day of work for me and chipping in backstage to help with the show.

What three words best describe your style?
Confident, elegant, fun.
 
Ong-Oaj Pairam Autumn:Winter 2013
Ong-Oaj Pairam A/W 2013.

What did you learn from working at Proenza Schouler and Roland Mouret?
Proenza Schouler was only a small company when I started with them so I had to adapt very quickly to various roles. I would be pattern cutting, managing a runway show and running sales all in the same week. I was very lucky that Jack and Lazaro exposed me to everything. New York is also great place for people watching, and because I saw people making really brave yet sophisticated choices in what to wear it helped me develop my own style. Roland Mouret helped me refine my pattern cutting skills: he is a master at the body conscious dress. I learnt that simpler design is often harder to achieve yet just as impactful.
 
Ong-Oaj Pairam Spring Summer '14 Preview Collection by Rose Crees
Ong-Oaj Pairam S/S 2014 Preview by Rose Crees.

How have you translated the idea of Drew Barrymore’s character in ET into a fashion collection? It sounds most intriguing. 
Haha, inspiration comes in the most extraordinary forms. Gertie (Drew Barrymore’s character) inspired me in many ways. Initially I emulated her childish curiosity in the creative process, exaggerating what is exciting and removing all the usual rules. She’s one tough cookie, despite her age, and I admired her strength. Without giving too much away, there are lots of cues to her character in the collection, including fabric choices, patterns, colour and perspectives. (Although there’s no gingham cowgirl uniforms or cut out bed sheet in this collection… yet…)
 
Ong-Oaj Pairam A/W 2013 by Zoe Gotts
Ong-Oaj Pairam S/S 2014 preview by Zoe Gotts.

Why is it so important to you to print on British textiles, and where do you get this done?
We have so many skilled factories and teams in Britain and there is so much talent, yet it’s very easy to get work done overseas to save on cost. You miss out on a wealth of local talent, craft and inspiration if you save a few pennies by getting work done abroad. All the textiles in this collection were sourced and printed in Britain, and all my embroidery and my shoes have been manufactured here. It’s nice building a relationship with the companies and you learn so much more from the people. 
 
Ong-Oaj Pairam Autumn:Winter 2013
Ong-Oaj Pairam A/W 2013.

Embroidery was all done by Jenny King and her team, her studio is a five minute walk from my studio and she has a huge portfolio of spectacular embroidered pieces. My shoes were manufactured by Thomas Murphy, who is an incredible designer and has a small workshop in London. The textiles come from various factories, unfortunately they are mainly in Yorkshire so a bit too far for me to bribe them with cup-cakes. Printing is done through the Silk Bureau.
 
Ong-Oaj Pairam A/W 2013
Ong-Oaj Pairam A/W 2013.

How has your Thai heritage affected your approach to design? 
My Thai background has mainly affected my approach to business and my work ethic. My parents grew a successful (food) industry from nothing and inspired me to work very hard and achieve my dreams. Always start with the end in mind and keep focussed. They are also good at making sure I keep my business head on.

Categories ,A/W 2013, ,Brighton University, ,Drew Barrymore, ,ET, ,Fashion Scout, ,Freemasons’ Hall, ,Gaarte, ,Gabriel Ayala, ,Gertie, ,interview, ,Jenny King, ,lfw, ,London Fashion Week, ,Ong-Oaj Pairam, ,Pop PR, ,preview, ,Proenza Schouler, ,Roland Mouret, ,Rose Crees, ,S/S 2014, ,Silk Bureau, ,Thai, ,Thomas Murphy, ,Zoe Gotts

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Amelia’s Magazine | New Designers 2013 Product Design Review: The Best Product Designers and More

Elizabeth Roberts product design
To round off my coverage of New Designers I’m going to introduce my random top selections from the product design colleges, as well as some stray surface design and some ace work from the One Year On room. Firstly, Lizzy Roberts at Camberwell College of Art was inspired by ways in which lives can be improved. She calls these curious objects Theraputty, and they are designed for use in Occupational Therapy to help those with poor dexterity to improve strength.

Liv Stevens Pocket shelf
I like the concept of a Pocket Shelf, by Liv Stevens – store all your unsightly stuff and save the surface for cherished objects.

Rosie Holman Cardiff School of Art
It seems odd that Cardiff School of Art and Design chose to show work by their surface pattern designers at part two of New Designers, but they must have had their reasons. Tucked away at the back of a room full of architectural models I discovered some lovely displays. Rosie Holman used a mid century colour palette to hand stamp a mix of organic designs inspired by the Pitt Rivers museum in Oxford.

Louise Webber Cardiff School of Art
I loved Louise Webber‘s laser cut wood inlays featuring animals and plant life, but sadly you’ll have to make do with one slightly out of focus photo, as I can’t find her work anywhere online.

Joanne King Cardiff school of art
Joanne King was inspired by the Art Deco period in her creation of fabrics and wallpaper in a variety of textures, including silks and rich velvet. She envisages these designs in commercial interiors such as hotels and bars.

Lulu & Luca
Over in the One Year On room it was nice to see a familiar display of simple yet elegant textiles designs from Lulu & Luca, who were last spotted in Spitalfields Market.

Decorative lampshades by Josie Shenoy in #oneyearon
These decorative lampshades are by Josie Shenoy, who applies her delicate mirrored illustrations to a host of interiors and stationary products.

Katherina Manolessou hedgehog gardening bakers dozen
I spotted this print of a hedgehog mowing the lawn by Katherina Manolessou at the AOI stand; it was created as part of a project called Baker’s Dozen.

Pot handles by Aidan Blaik at edinburgh napier - productdesign
I’m not one to obsess over the small aspects of kitchenware design, but I can’t resist this exploration of pot handles by Aidan Blaik at Edinburgh Napier.

recycled glass lights from Brenda Curry at birmingham city
And I love these recycled glass lights from Brenda Curry at Birmingham City University.

Patchwork quilt by Joshua Barnes of Brighton
This patchwork quilt comes with an integrated app to help children in hospital, by Joshua Barnes of Brighton University.

Eloisa Henderson-Figueroa
Also at Brighton, product designer Eloisa Henderson-Figueroa had created an intriguing steel tree with magnetic balls, to be added and removed with children to initiate conversation.

ceramics by Alex Allday at loughborough uni
And finally, to round off my reviews of the 2013 New Designers shows, these pretty patterned ceramics by Alex Allday at Loughborough University are clearly inspired by the intricate designs of plant cells.

Here’s hoping many of the designers that I have discovered go on to long and illustrious creative careers!

Categories ,2013, ,Aidan Blaik, ,Alex Allday, ,AOI, ,Art Deco, ,Baker’s Dozen, ,Birmingham City University, ,Brenda Curry, ,Brighton University, ,Camberwell College of Art, ,Camberwell College of Arts, ,Cardiff School of Art and Design, ,Edinburgh Napier, ,Eloisa Henderson-Figueroa, ,Joanne King, ,Joshua Barnes, ,Josie Shenoy, ,Katherina Manolessou, ,Liv Stevens, ,Lizzy Roberts, ,Loughborough University, ,Louise Webber, ,Lulu & Luca, ,New Designers, ,One Year On, ,Pitt Rivers, ,Pocket Shelf, ,Product Design, ,review, ,Spitalfields Market, ,surface design, ,Theraputty

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Amelia’s Magazine | Pick Me Up Contemporary Graphic Art Fair 2011: Mokita Symposium

amos_plastic_workshop_london-portrait
Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, approved where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. It’s a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, information pills when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit. To keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

James Jarvis lino work
Working with lino print.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself.
He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, page where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. It’s a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, web when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit. To keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March.

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, decease where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. His job is a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids’ books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit. To keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March.

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, illness where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. His job is a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, website when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids’ books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit so to keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March. A more in depth article about Mokita will follow shortly!

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, sales where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. His job is a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, about it when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids’ books but nobody wanted his work and editorial art directors thought he was too kiddy in style, more about so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit so to keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March. A more in depth article about Mokita will follow shortly!


Mokita by Catherine Askew.

Mokita was billed as a chance to discuss the role of illustration today and specifically what it means to be an illustrator, more about and how that definition is changing. Compared with fine art the applied art discipline of illustration is indeed under-critiqued, side effects so I was keen to take part in the discussion and hear what others have to say. Convened by illustration lecturers Geoff Grandfield, viagra Roderick Mills and Darryl Clifton, from departments at Kingston University, Brighton University and Camberwell College of the Arts, this was destined to have a highly theoretical flavour. We were presented with a lovingly put together booklet on arrival in the bowels of Somerset House, but then, really, would you expect anything less?! Inside it politely asked that shy audience members should text questions to the panel – a nice touch.

Adrian Shaughnessy by Harriet Fox
Adrian Shaughnessy by Harriet Fox.

Proceedings kicked off with an introduction from Adrian Shaughnessy, who describes himself as a self-taught graphic designer. He co-founded Varoom, writes for numerous publications and is now a visiting professor at the RCA. Mokita is a Papua New Guinean word that means “the truth we do not talk about” and as Adrian said, “the subject never gets discussed, it’s as if illustration has a permanent Mokita moment.” How often do illustrators discuss what they actually do? As Darryl would later state, there are no textbooks on the subject: instead you’re more likely to discover books on how to airbrush, or more recently, how to photoshop. Adrian described how graphic designers can hide behind typefaces, layout and rules, whilst illustrators must reveal themselves, appearing naked from the get-go. Interestingly, all of his recent students at the RCA have chosen to work on projects for social good, an area which he believes is becoming increasingly important. We were assured that this would not be a whinging session, though “most commissioners are mean as hell, blind and defective” – I do hope I don’t fall into this category.

Mokita 2011-booklet

Next up Darryl Clifton raised the idea that commerce is not the only context for illustration – a hypothesis that I would have thought was pretty obvious. But I think that what he was really getting at is that where once illustrators relied on relatively expensive technology nowadays it is now possible to disseminate images cheaply without the aid of large corporations – through zines and online for example. Both he and Geoff were keen to emphasise that the discipline of illustration gives a good visual education for life: an illustrator must learn to construct a rich inner world, interpret ideas, experiment and problem solve: all transferable skills even if there is no obvious job market for a graduating illustrator.

James Jarvis gave an intriguing talk about how he sees himself as an illustrator in the context of the commercial world, which included the intriguing fact that he prefers to call himself a graphic artist because it encompasses a wider range of possibility (witness the subtitle of Pick Me Up) You can read a summary of this talk on this blog.

Roderick Mills by Harriet Fox
Roderick Mills by Harriet Fox.

We then moved onto a debate on ‘self-authorship’ between Roderick Mills and Peepshow illustrator and former Amelia’s Magazine contributor Luke Best. I found Illustrator as Author, new paradigm or death of a discipline? a confusing and circuitous conversation. As Luke rightly pointed out, the illustrator as author is not a new concept. Some people seemed particularly riled by the success of the Four Corners Books, which famously works with fine artists rather than illustrators to re-imagine famous texts, including Vanity Fair (my boyfriend has a copy, it is very beautiful) and Dracula.

mokita1-by-catherine-askew
Mokita by Catherine Askew.

I think the main issue is that illustrators would ideally like to be accorded the same amount of responsibility for interpretation of a story or idea – something which is clearly the case in the Four Corners projects. As a member of the audience pointed out, the best thing would be if a dual voice spoke to the reader: an eloquent marriage of equal weight – as is afforded the soundtrack for the movie Taxi Driver.

Vanity Fair published by Four Corners. Illustrations by Donald Urquhart
Vanity Fair published by Four Corners. Illustrations by Donald Urquhart.

Adrian told us that American illustrator Brad Holland was famously asked to illustrate for Playboy, which not only offers an amazing shop window but pays well too – yet he refused to do so unless he had the same brief to work from as the author. Periodically we returned to the theme of illustrator as mediator for ideas about social engagement: and it was pointed out that this has a long long history.

Norman Rockwell - Christmas Homecoming, 1948
Norman Rockwell – Christmas Homecoming, 1948.

Geoff Grandfield then led us on a whistlestop tour of the Theory of Illustration, which was a potted history of its use across the years, from the Egyptian Book of the Dead, via illuminated manuscripts, William Blake’s Line of Beauty and on to the propaganda images of Norman Rockwell. Throughout time the role of illustration has been to act as a visual memory, inform us of abstract ideas and critique personal, social and political relationships across language boundaries. Illustration has an especially important role in the development of children, for whom characters are invented to communicate all sorts of ideas.

Roald_Dahl_Day_Children
Children by Quentin Blake.

In a perfect world there is a symbiotic relationship between author and image maker – just think of Roald Dahl and Quentin Blake – its often hard to separate their visions. The most recent incarnation of illustration rose in popularity alongside the rise of print media from the 1950s onwards. There followed a discussion with Sam Arthur, one of the founding members of Nobrow Press, who was drafted in to replace Simone Lia at the last moment. You can read about this conversation in my separate blog.

Mokita by Catherine Askew
Mokita by Catherine Askew.

We finished off the day with a panel discussion: Do we need a theory of illustration? Again, a bit of a confusing title given that we’d just had a potted guide. For this all six men sat in a row at the front of the room, with Adrian adjudicating from the side. It was postulated that illustration needs a structure to become a transformational experience that will allow illustrators to engage with ideas outside themselves. I think that’s over-complicating the matter – most illustrators work intuitively and that’s the very beauty of their drawings – as Darryl said, the very diffuseness of the topic may be a benefit, allowing the idea of what illustration is to remain malleable.

Mokita 2011-James Jarvis
One of the more minimal pieces by James Jarvis.

After an audience member introduced himself as happy to say he was an illustrator James Jarvis conceded that he might actually be happy to call himself an illustrator again too. “The trouble is that you feel like you are at the bottom of the pile as an illustrator… but it’s not important what I call myself anyway, I change my ideas all the time.” It was mentioned that often an illustration degree is the last place to teach really good drawing skills, but Geoff and Darryl feel that the subject still needs greater structural depth. I think maybe there’s a book that needs to be written, and who better to work on it than these two? Sam counteracted that it shouldn’t really be necessary to know where it comes from… “shouldn’t the work do the talking?” which I have to say is my opinion too. No amount of theoretical framework is going to ensure a good illustration alone, though it may well be helpful in an illustrator understanding their place and method of working within a historical context.

Mokita 2011-sketching

In the past five years the popularity of illustration has grown exponentially, mainly because of the huge amount of self-initiated work now available online – something which worries Roderick Mills. He feels that illustrators should be careful how they represent themselves, self-editing way more before posting work online. Because illustrators are always evolving, even when they graduate, they should ensure there is enough time for self-reflection or we run the risk of being “paralysed by vacuous images with which we have no attachment.” Yes, by all means be careful what you represent in a proper online portfolio and in mailouts but this isn’t an opinion I agree with – I think it’s brilliant that illustrators put their work online, especially on blogs, where it’s possible to see the development of their work over time, a very exciting thing to watch.

Mokita by Catherine Askew
Mokita by Catherine Askew.

As the symposium drew to a close Geofrey Zeel asked why there were no women on the panel. Then, to my absolute delight, two other women commented, saying “maybe because we’re not at the pub with you?” and “it feels like a boys’ club” – both phrases that I had been thinking myself (Geoff admitted that Mokita came about via conversations in the pub) and intended to write in this piece. To disbelieving gasps from the audience Roderick stated that “maybe it’s the male ego, more outward going”. Geoff assured everyone that he had tried his hardest to get more females on the board. This isn’t strictly true – I volunteered to take part but when Simone Lia dropped out they asked Nobrow to join the panel. I love Nobrow’s work but given the lack of women and the fact that most of my work is based on the power of illustration to inspire social change I think that was a pretty weird decision. I do think it’s shocking that more was not done to address what was a totally male representation of a subject that is made up of more than 50% female practitioners.

Mokita by Paper Peggy
Mokita by Paper Peggy.

The first Mokita symposium was an interesting starting place but I feel it could be so much more: the audience was predominantly students (all busily sketching away) and lecturers, and it would have been nice to feel that practitioners too were present and welcome as well as other interested parties, and that more discussions could have been had in smaller groups, especially when it came to some of the more nebulous topics that went around in circles – to which surely the audience (whom were mostly silent apart from a vocal few) would have been able to contribute just as much as those up front.

I also felt that hardly anything was done to address the rise of illustration on the internet – perhaps because some of those running the conference have very narrow profiles online and don’t engage with it much themselves. Here’s hoping that the next Mokita will be bigger, more interactive, more ambitious and open in its scope…. and led in tandem with some inspiring women from the field.

Mokita 2011-Valerie Perezon
Valerie Perezon.

You can read another blog about this event here: by former Amelia’s Magazine art editor Valerie Perezon, who like me was perturbed by the lack of females present.

You can read my review of Pick Me Up here, it’s open until Sunday 27th March.

Categories ,Adrian Shaughnessy, ,Book of the Dead, ,Brad Holland, ,Brighton University, ,Camberwell College of the Arts, ,Catherine Askew, ,Darryl Clifton, ,Donald Urquhart, ,Dracula, ,Four Corners, ,Four Corners Books, ,Geoff Grandfield, ,Geofrey Zeel, ,Harriet Fox, ,illustration, ,James Jarvis, ,Kingston University, ,Line of Beauty, ,Luke Best, ,Mokita, ,Nobrow Press, ,Norman Rockwell, ,Paper Peggy, ,Papua New Guinea, ,Peepshow, ,Pick Me Up, ,Playboy, ,Quentin Blake, ,rca, ,Roald Dahl, ,Roderick Mills, ,Sam Arthur, ,Simone Lia, ,Symposium. Somerset House, ,Taxi, ,Theory, ,Valerie Perezon, ,Valoche Designs, ,Vanity Fair, ,Varoom, ,William Blake, ,Zeel

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Amelia’s Magazine | Pick Me Up Contemporary Graphic Art Fair 2011: Mokita Symposium

amos_plastic_workshop_london-portrait
Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, approved where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. It’s a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, information pills when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit. To keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

James Jarvis lino work
Working with lino print.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself.
He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, page where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. It’s a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, web when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit. To keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March.

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, decease where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. His job is a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids’ books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit. To keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March.

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, illness where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. His job is a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, website when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids’ books but nobody wanted his work and editorial art directors thought he was too kiddy in style, so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit so to keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March. A more in depth article about Mokita will follow shortly!

Wisdom of Caleb bare leaves

James Jarvis spoke at Mokita, sales where he was asked to address the role of illustration in commerce. The insights below have been put together from comments he made both in his talk and in the following conversation with others on the panel of Mokita.

James Jarvis Degree Show poster
James Jarvis’ Brighton Degree Show poster.

A character artist.
The baggage of being an illustrator is confusing so he prefers to think of himself as a graphic artist. His job is a journey into self awareness. He recently found his old degree graduation poster and realised that you can see his style developing even then, about it when it was all done by hand. He has become very well known for drawing funny characters in depressing situations but he doesn’t like being seen as a character artist only.

Sole Inspector by James Jarvis
Sole Inspector by James Jarvis.

He knew the route.
James’ mother was an art history tutor and he knew he wanted to be an illustrator from an early age. The plan was to make kids’ books but nobody wanted his work and editorial art directors thought he was too kiddy in style, more about so he was stuck in no mans land. But he was accepted within the skateboarding world, where his work was discovered by the forward thinking art directors at The Face. He was lucky in that his images were companions to the articles, and he didn’t really have to answer any briefs. The magazine was a massively influential shop window that gave him credibility in the mainstream.

Caleb toys by James Jarvis for Amos
Caleb toys by James Jarvis for Amos.

ATP Amos concert poster
An Amos collaboration with ATP music festival.

People just want funny characters.
From working with The Face he became involved with clothing brand Silas, and together they created a toy to publicise the brand. It became an object in its own right and soon after he started Amos, his own toy making company; it doesn’t make him much money but he is involved with lots of other projects as a result: he now makes films, t-shirts and curates music festivals. He wants his characters to be more than just toys, avatars for a more substantial world. Even now though, many years later, advertisers still just want to buy into his associations with Streetwear culture and The Face; everyone wants a potato head character. For instance he’s currently working on something to celebrate the 125th anniversary of Coca-Cola. Only the most enlightened art directors ask for something different and new: most just want something he produced a long time ago so it’s up to him to keep pushing ideas forward.

James Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino printJames Jarvis lino print
James Jarvis lino prints.

Self publish for sanity.
Making products is a different world to the one of illustration. He started to make ‘plastic illustrations’ from his toys but soon found that he was getting farther and farther away from his unmoderated link to thought. So much intermediate process meant he was at danger of losing his core spirit so to keep sane he now maintains a practice of self published work, which he publishes online. For example he’s been very disciplined, creating The Wisdom of Caleb, a daily cartoon strip for 150 days (this has now been taken offline). He rejoices if he gets a few hundred hits – but it’s important to build up an audience over time, and if you keep your conviction then the work will find that validity. The comic strips are very basic, with no retouching.

wisdom of caleb worksheetWisdom of Caleb safe squirrelWisdom of Caleb
Cartoons for the Wisdom of Caleb.

Back to basics.
He’s been inspired by Roger Hargreaves to create some very minimal characters. He has also been creating a lino print every week in editions of seven, which provides a grassroots connection with his audience that is direct and democratic. He sells the prints directly and finds there’s an honesty in taking them to the post office himself. He’s aware that he’s “highly involved with filling the world with plastic” and it makes him quite uncomfortable. He likes the simplicity and honesty of making things by hand at home, such as resin figures – and using the web to sell them direct. This kind of work never felt accessible when he was at college.

James Jarvis lino work
Working with lino print.

His greatest hits.
He has sold 10,000 toys over the years and he’s grateful for that because there’s a bond with his audience. He would be stupid not to engage with what people want. But James also concedes admits that he has been massively lucky – tons of people at college were better drawers, and his success has been as much down to circumstance as being clever.

amos_plastic_workshop_london-portrait
James Jarvis hosts the Amos Miniature Plastic Workshop at KK outlet in Hoxton between 6-31 May, 2011.

Pick Me Up runs until Sunday 27th March. A more in depth article about Mokita will follow shortly!


Mokita by Catherine Askew.

Mokita was billed as a chance to discuss the role of illustration today and specifically what it means to be an illustrator, more about and how that definition is changing. Compared with fine art the applied art discipline of illustration is indeed under-critiqued, side effects so I was keen to take part in the discussion and hear what others have to say. Convened by illustration lecturers Geoff Grandfield, viagra Roderick Mills and Darryl Clifton, from departments at Kingston University, Brighton University and Camberwell College of the Arts, this was destined to have a highly theoretical flavour. We were presented with a lovingly put together booklet on arrival in the bowels of Somerset House, but then, really, would you expect anything less?! Inside it politely asked that shy audience members should text questions to the panel – a nice touch.

Adrian Shaughnessy by Harriet Fox
Adrian Shaughnessy by Harriet Fox.

Proceedings kicked off with an introduction from Adrian Shaughnessy, who describes himself as a self-taught graphic designer. He co-founded Varoom, writes for numerous publications and is now a visiting professor at the RCA. Mokita is a Papua New Guinean word that means “the truth we do not talk about” and as Adrian said, “the subject never gets discussed, it’s as if illustration has a permanent Mokita moment.” How often do illustrators discuss what they actually do? As Darryl would later state, there are no textbooks on the subject: instead you’re more likely to discover books on how to airbrush, or more recently, how to photoshop. Adrian described how graphic designers can hide behind typefaces, layout and rules, whilst illustrators must reveal themselves, appearing naked from the get-go. Interestingly, all of his recent students at the RCA have chosen to work on projects for social good, an area which he believes is becoming increasingly important. We were assured that this would not be a whinging session, though “most commissioners are mean as hell, blind and defective” – I do hope I don’t fall into this category.

Mokita 2011-booklet

Next up Darryl Clifton raised the idea that commerce is not the only context for illustration – a hypothesis that I would have thought was pretty obvious. But I think that what he was really getting at is that where once illustrators relied on relatively expensive technology nowadays it is now possible to disseminate images cheaply without the aid of large corporations – through zines and online for example. Both he and Geoff were keen to emphasise that the discipline of illustration gives a good visual education for life: an illustrator must learn to construct a rich inner world, interpret ideas, experiment and problem solve: all transferable skills even if there is no obvious job market for a graduating illustrator.

James Jarvis gave an intriguing talk about how he sees himself as an illustrator in the context of the commercial world, which included the intriguing fact that he prefers to call himself a graphic artist because it encompasses a wider range of possibility (witness the subtitle of Pick Me Up) You can read a summary of this talk on this blog.

Roderick Mills by Harriet Fox
Roderick Mills by Harriet Fox.

We then moved onto a debate on ‘self-authorship’ between Roderick Mills and Peepshow illustrator and former Amelia’s Magazine contributor Luke Best. I found Illustrator as Author, new paradigm or death of a discipline? a confusing and circuitous conversation. As Luke rightly pointed out, the illustrator as author is not a new concept. Some people seemed particularly riled by the success of the Four Corners Books, which famously works with fine artists rather than illustrators to re-imagine famous texts, including Vanity Fair (my boyfriend has a copy, it is very beautiful) and Dracula.

mokita1-by-catherine-askew
Mokita by Catherine Askew.

I think the main issue is that illustrators would ideally like to be accorded the same amount of responsibility for interpretation of a story or idea – something which is clearly the case in the Four Corners projects. As a member of the audience pointed out, the best thing would be if a dual voice spoke to the reader: an eloquent marriage of equal weight – as is afforded the soundtrack for the movie Taxi Driver.

Vanity Fair published by Four Corners. Illustrations by Donald Urquhart
Vanity Fair published by Four Corners. Illustrations by Donald Urquhart.

Adrian told us that American illustrator Brad Holland was famously asked to illustrate for Playboy, which not only offers an amazing shop window but pays well too – yet he refused to do so unless he had the same brief to work from as the author. Periodically we returned to the theme of illustrator as mediator for ideas about social engagement: and it was pointed out that this has a long long history.

Norman Rockwell - Christmas Homecoming, 1948
Norman Rockwell – Christmas Homecoming, 1948.

Geoff Grandfield then led us on a whistlestop tour of the Theory of Illustration, which was a potted history of its use across the years, from the Egyptian Book of the Dead, via illuminated manuscripts, William Blake’s Line of Beauty and on to the propaganda images of Norman Rockwell. Throughout time the role of illustration has been to act as a visual memory, inform us of abstract ideas and critique personal, social and political relationships across language boundaries. Illustration has an especially important role in the development of children, for whom characters are invented to communicate all sorts of ideas.

Roald_Dahl_Day_Children
Children by Quentin Blake.

In a perfect world there is a symbiotic relationship between author and image maker – just think of Roald Dahl and Quentin Blake – its often hard to separate their visions. The most recent incarnation of illustration rose in popularity alongside the rise of print media from the 1950s onwards. There followed a discussion with Sam Arthur, one of the founding members of Nobrow Press, who was drafted in to replace Simone Lia at the last moment. You can read about this conversation in my separate blog.

Mokita by Catherine Askew
Mokita by Catherine Askew.

We finished off the day with a panel discussion: Do we need a theory of illustration? Again, a bit of a confusing title given that we’d just had a potted guide. For this all six men sat in a row at the front of the room, with Adrian adjudicating from the side. It was postulated that illustration needs a structure to become a transformational experience that will allow illustrators to engage with ideas outside themselves. I think that’s over-complicating the matter – most illustrators work intuitively and that’s the very beauty of their drawings – as Darryl said, the very diffuseness of the topic may be a benefit, allowing the idea of what illustration is to remain malleable.

Mokita 2011-James Jarvis
One of the more minimal pieces by James Jarvis.

After an audience member introduced himself as happy to say he was an illustrator James Jarvis conceded that he might actually be happy to call himself an illustrator again too. “The trouble is that you feel like you are at the bottom of the pile as an illustrator… but it’s not important what I call myself anyway, I change my ideas all the time.” It was mentioned that often an illustration degree is the last place to teach really good drawing skills, but Geoff and Darryl feel that the subject still needs greater structural depth. I think maybe there’s a book that needs to be written, and who better to work on it than these two? Sam counteracted that it shouldn’t really be necessary to know where it comes from… “shouldn’t the work do the talking?” which I have to say is my opinion too. No amount of theoretical framework is going to ensure a good illustration alone, though it may well be helpful in an illustrator understanding their place and method of working within a historical context.

Mokita 2011-sketching

In the past five years the popularity of illustration has grown exponentially, mainly because of the huge amount of self-initiated work now available online – something which worries Roderick Mills. He feels that illustrators should be careful how they represent themselves, self-editing way more before posting work online. Because illustrators are always evolving, even when they graduate, they should ensure there is enough time for self-reflection or we run the risk of being “paralysed by vacuous images with which we have no attachment.” Yes, by all means be careful what you represent in a proper online portfolio and in mailouts but this isn’t an opinion I agree with – I think it’s brilliant that illustrators put their work online, especially on blogs, where it’s possible to see the development of their work over time, a very exciting thing to watch.

Mokita by Catherine Askew
Mokita by Catherine Askew.

As the symposium drew to a close Geofrey Zeel asked why there were no women on the panel. Then, to my absolute delight, two other women commented, saying “maybe because we’re not at the pub with you?” and “it feels like a boys’ club” – both phrases that I had been thinking myself (Geoff admitted that Mokita came about via conversations in the pub) and intended to write in this piece. To disbelieving gasps from the audience Roderick stated that “maybe it’s the male ego, more outward going”. Geoff assured everyone that he had tried his hardest to get more females on the board. This isn’t strictly true – I volunteered to take part but when Simone Lia dropped out they asked Nobrow to join the panel. I love Nobrow’s work but given the lack of women and the fact that most of my work is based on the power of illustration to inspire social change I think that was a pretty weird decision. I do think it’s shocking that more was not done to address what was a totally male representation of a subject that is made up of more than 50% female practitioners.

Mokita by Paper Peggy
Mokita by Paper Peggy.

The first Mokita symposium was an interesting starting place but I feel it could be so much more: the audience was predominantly students (all busily sketching away) and lecturers, and it would have been nice to feel that practitioners too were present and welcome as well as other interested parties, and that more discussions could have been had in smaller groups, especially when it came to some of the more nebulous topics that went around in circles – to which surely the audience (whom were mostly silent apart from a vocal few) would have been able to contribute just as much as those up front.

I also felt that hardly anything was done to address the rise of illustration on the internet – perhaps because some of those running the conference have very narrow profiles online and don’t engage with it much themselves. Here’s hoping that the next Mokita will be bigger, more interactive, more ambitious and open in its scope…. and led in tandem with some inspiring women from the field.

Mokita 2011-Valerie Perezon
Valerie Perezon.

You can read another blog about this event here: by former Amelia’s Magazine art editor Valerie Perezon, who like me was perturbed by the lack of females present.

You can read my review of Pick Me Up here, it’s open until Sunday 27th March.

Categories ,Adrian Shaughnessy, ,Book of the Dead, ,Brad Holland, ,Brighton University, ,Camberwell College of the Arts, ,Catherine Askew, ,Darryl Clifton, ,Donald Urquhart, ,Dracula, ,Four Corners, ,Four Corners Books, ,Geoff Grandfield, ,Geofrey Zeel, ,Harriet Fox, ,illustration, ,James Jarvis, ,Kingston University, ,Line of Beauty, ,Luke Best, ,Mokita, ,Nobrow Press, ,Norman Rockwell, ,Paper Peggy, ,Papua New Guinea, ,Peepshow, ,Pick Me Up, ,Playboy, ,Quentin Blake, ,rca, ,Roald Dahl, ,Roderick Mills, ,Sam Arthur, ,Simone Lia, ,Symposium. Somerset House, ,Taxi, ,Theory, ,Valerie Perezon, ,Valoche Designs, ,Vanity Fair, ,Varoom, ,William Blake, ,Zeel

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Amelia’s Magazine | Prints and Furnishings by Fanny Shorter: An interview with the talented Textile Designer

Fanny Shorter Passion Pair Blue
I first discovered the beautiful designs of Fanny Shorter at Cockpit Arts in 2013 and have since met her at Home London (twice) and Tent London. Last year she was a deserving recipient of the COADG bursary. Fanny trained as an illustrator at Brighton University but has since turned her skills to the joy of textile design, building an immediately recognisable brand that features beautiful bold designs inspired by a childhood growing up in the beautiful City of Winchester and family trips to museums and National Trust properties.

Winchester Richard Shorter
Winchester school Richard Shorter
Winchester views by Richard Shorter.

Your upbringing in Winchester with teacher parents sounds idyllic, what are your fondest memories of childhood?
We were just very lucky. We were housed in the school grounds where my father taught in Winchester and it was just an absolutely beautiful environment in which to grow up. I appreciate it more now even more than I did then. We were just outside most of the time. My mother was quite traditional but very creative and we were always encouraged to draw, sew, make things and write (although I’ve probably let that slip somewhat).

Calathea_Cushion_Lrg_Clementine_Fanny_Shorter
Why did you decide to study illustration and how did you end up specialising in surface design? (where did you learn the practicalities of printing for instance?)
I originally wanted to study painting but got cold feet about the enormity of possibility within fine art. I felt I needed some practical guidelines and illustration seemed the perfect compromise. My first surface design was in response to a brief at university and I just felt really comfortable designing with a very specific application in mind. Screen-printing followed quite naturally as a way of applying pattern to a material. I had an induction in screen-printing at Brighton but got really into it after I left and still love it as a way of working. It’s really physical and very satisfying.

Quince_Cushion_Small_Buttercup_Front_Fanny_Shorter copy
What was the most useful thing you took from your illustration degree in Brighton?
Having the freedom to explore different mediums and finding the confidence to develop your own style. I’m not sure I have it quite yet but I know now when I’ve done something I’m pleased with and when something is truly awful.

Fanny Shorter at work
How did you get involved with the COADG bursary and what has been the best outcome from winning the prize last year?
I was familiar with the Confessions of a Design Geek blog and read about the bursary winner, Jessica Hogarth the year before. It seemed like a great opportunity and I decided to apply the following year. The mentors and sponsors I met through the bursary have been so supportive. It’s a very daunting experience, setting up your own business, and they were very free and friendly with advice and time.

Small_Calathea_Cushion_Neon_Fanny_Shorter
Why did you take a studio in Cockpit Arts and why would you recommend it to fellow creatives?
Cockpit provides seminars and one to one business advice as part of your rent. I felt if my business was going to get off the ground I needed all the help I could get. Being at Cockpit Arts has been invaluable. It’s great to tap into the professional support available but also to be part of a community where there’s always someone just ahead of you in business whose brains you can pick. We have an open studios event twice a year and it’s a brilliant way to get comfortable with talking about your work and meeting your customers – something I was nigh on allergic to beforehand.

Calathea_Blood_Orange_Make_Up_Bag_Side_Fanny_Shorter
Calathea_Cushion_Magenta_Small_Fanny_Shorter_Press
Where do you look for inspiration when you start designing a new range of patterns?
Dorling Kindersley has always been an easy go to. Much of my work is inspired by natural science and it’s a quick, very visual source. I regularly visit National Trust properties, the V&A, Natural History Museum and Kew Gardens, Hampshire and Wiltshire all of which formed a major part of my childhood. Google is there too in times of crisis although daunting if you’re unsure where you’re even going to start. I’ll always use it to find facts and figures about the plants and birds I plan to use in a design.


Your brand is continually developing and you are about to add hand printed furnishing fabric by the metric. What do you hope for in the future?
If time I would like a range of furnishing fabrics, prints and wallpapers. I would ultimately love to bring screen-printing fabric by the metre back in house but I’d need a very long studio for that and in London it simply isn’t feasible at the moment. There’s the dream I suppose – having a workshop somewhere in the countryside with a printing dream team and a studio dog.

Categories ,Brighton University, ,COADG Bursary, ,Cockpit Arts, ,Confessions of a Design Geek, ,Dorling Kindersley, ,Fanny Shorter, ,Home London, ,Jessica Hogarth, ,National Trust, ,screenprinting, ,Tent London, ,Textile Design, ,Winchester

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Amelia’s Magazine | Best New Designs: Top Drawer and Craft London January 2014 Review

Wrap magazine trees and tools wrapping paper

It has been many years since I last attended the Top Drawer gift trade show at Earls Court, and the scope of what is now on offer is daunting to say the least: it’s no wonder it has recently split off into the separate Home London event and now Craft London. Having already visited those two I only made it around half of Top Drawer, missing out on much I’m sure. Oh well, there’s always next time.

Wrap Magazine paper with leaves and pot plants

Over in the greeting cards section it was great to meet the talented Polly and Chris from Wrap Magazine, who have produced a wonderful stand alone wrapping paper range to compliment their beautiful publication – it’s a natural move for this twosome, who have done a remarkable job of creating both a magazine and a product by harnessing the talents of the illustrators that they feature. They have a great aesthetic that is similar to my own and their unique commissioned designs stood out a mile at Top Drawer. You can read our recent interview here.

Eley Kishimoto wrapping paper for 1973 designs

Over at the 1973 stand a collaboration with cult fashion designers Eley Kishimoto caught my eye. Graphic patterns with names like Waltzing Vases and Naked Herrings feature signature colour ways that are unlike any other. Just fabulous.

Snowflakes socks for kids

I love brightly coloured and patterned socks. Snowflakes and Sunflowers specialise in ace affordable designs for kids, available in a boutique near you.

Jennie Maizels A-Z iron on patches

It was very exciting to finally meet illustrator and entrepreneur extraordinaire Jennie Maizels, whose expanding line of iron on patches now includes these brilliant letters, which can be bought separately to construct the words of your choice.

Elks and Angels sheepskin bear

Looking for an unusual and charming newborn gift? How about this adorable sheepskin soft Cuddle Bear for kids by Australian company Elks and Angels, distributed by Diddywear in the UK.

Plan toys cog puzzle

This is so cool: a gear puzzle from Plan Toys, a Thai company which specialises in ‘sustainable play’ and great design.

Colourful Dove bone china for kids

This fun bone china tableware range for kids is by Colourful Dove.

Sew Heart Felt seal slippers

Seal felt slippers designed in the UK and handmade in Nepal by Sew Heart Felt are extremely cute, dontcha think?!

Nkuku paper lanterns

Beautiful unusual shaped paper lanterns by Nkuku would look wonderful hung from the ceiling at any time of year. This company specialises in ecodesign and fair-trade gifts.

Susi Hines rotating gold rings

Over in the new Craft London section I loved these handmade oxidised gold and natural diamond rotating rings by jeweller Susi Hines.

Sarah Straussberg necklace

Finally, Sarah Straussberg is a young designer who recently graduated from Brighton University. Her really clever range of jewellery is all based on a very simple seed pod form. Loved it a lot.

You can read my report from the January 2014 Home London trade show here.

Categories ,1973, ,Brighton University, ,Colourful Dove, ,craft, ,Craft London, ,Cuddle Bear, ,Diddywear, ,Earls Court, ,Eco-Design, ,Eley Kishimoto, ,Elks and Angels, ,fairtrade, ,gifts, ,Home London, ,Jennie Maizels, ,jewellery, ,Naked Herrings, ,Nepal, ,Nkuku, ,Plan Toys, ,Report, ,review, ,Sarah Straussberg, ,Sew Heart Felt, ,Snowflakes and Sunflowers, ,Susi Hines, ,Top Drawer, ,Trade Show, ,Waltzing Vases, ,Wrap Magazine

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Amelia’s Magazine | Camberwell College of Arts: Well Said Illustration Degree Show 2013 Review

Well Said illustration show brochures
Nigh on a month ago the latest batch of talented graduates from the Camberwell College of Arts illustration degree course put on their standalone show at The Rag Factory, a big white warehouse space that offers the perfect blank canvas. It also happens to be fantastically close to my home, making it a super easy destination for me. I was sad to have missed the Brighton University illustration degree show this year due to a family break in Pembrokeshire, but since the Car Park Show was held in deepest darkest Fulham it’s doubtful I would have made it anyway. There’s a reason why so many shows are held in East London: a huge amount of creatives live and work around here, and there are an awful lot of graduate shows to see.

Camberwell illustration Well Said show 2013 invite
The students from Well Said show ensured I knew the dates of their exhibition by sending me this delightful illustration package: there’s nothing like a tangible invite to build excitement. And as ever, they had produced a wonderful promotional book, seen above attractively piled on the floor. Predictably, this was a very strong showing from one of the best illustration courses in the country. Here’s what I found.

Sophia Parvinmehr camberwell
This exploration of the nervous system is by Sophia Parvinmehr.

Yiran Huang Camberwell
Yiran Huang Camberwell close up
Yiran Huang Camberwell business cards
Yiran Huang made this huge mandala type pattern that looks equally good in close up. She had also made possibly the best business cards ever: hand drawn cats, each in different poses. Love them. May have taken three.

Camberwell installation
Ruta Daubure
This brilliantly oddball installation is by Ruta Daubure, whose optical set designs for opera act like a strange human camouflage.

Carim Nahaboo bumble bee
This beautifully drawn bumble bee is by Carim Nahaboo. Bees are everywhere this year, which means they are obviously on people’s minds. Given the number of dead bees I’ve seen recently, this is definitely a good thing.

Siwei Tao- Schiz Camberwell
Siwei Tao Camberwell
Schiz by Siwei Tao is wonderfully odd, as is this strange image of detached arms in pots…

Lauren Doughty, Man from the South by Roald Dahl
Lauren Doughty
I love this narrative painted illustration by Lauren Doughty, based on Man from the South by Roald Dahl. Her work is just so fabulously sploshy, and I so dig that 80s influence on the colour palette.

Susan Calvert installation
Susie Calvert
Susan Calvert made this installation of wonderful painted wooden landscapes, which she showed alongside this gigantic oil pastel abstract.

Sam Marot 'British Empire' prints
lion poster image by Sam Marot
Sam Marot‘s ‘British Empire‘ prints tackled a thorny subject to produce some interesting work, including this striking lion poster.

Footballer by jack_sachs
Hello sexy lady! Jack Sachs
The jovial abstracted footballer is by Jack Sachs, as is this ‘sexy lady’ which mimics the typical pose of a page three lass. When I posted this image on instagram it caused a bit of a stir; but I don’t find Jack’s depiction offensive or irritating, rather it appears to question a fixation with everyday sexualisation in a knowing and humorous way.

Wedges and Ledges by Rich de Courcy south bank
Wedges and Ledges by Rich de Courcy
I absolutely adored this brilliant screen printed book by Rich de Courcy. Wedges and Ledges was inspired by a love of skateboarding in London, paying homage to much loved places such as the threatened skatepark under the brutalist South Bank arches, now immortalised in bright colours (sign the petition to save it here). I so wanted to take one of these little beauties home.

Cosmic Omelette mobile by Saara Karppinen
This Cosmic Omelette mobile by Saara Karppinen was inspired by a Finnish creation myth.

crafty display by Kim smith happy
Kim Smith of Art Equals Happy had put together a beautiful crafty display that ably showcased her beautiful handspun wares. I especially love her hand-written watercolour typography. See more on her website here.

embroidery with frogs by Titi Lee. London Underground
Upstairs I encountered an astonishing and large embroidered appliqué covered with jocular frogs by Titi Lee (this is a close up). This surreal vignette is based on her experience of using the London Underground.

Jessica Weijia Zhang - based on Edward Lear
Jessica Weijia Zhang had produced this slightly crackers illustration based on poems by Edward Lear.

Lucy Swan religious inspired illustrations
Lucy Swan‘s intricate line illustrations tackled the uncomfortable relationship between religion and money.

Magical eye print by Freya Faulkner
Pottery by Freya Faulkner
And finally, this magical eye print was one of an awe inspiring display put together by Freya Faulkner, titled Annihilation is Nigh: Cult of the Big Bang. Her rhythmical artwork and fabulous illustrated ceramics reflect the warring factions of matter and antimatter in brilliant narrative style.

My last graduate review will feature the artwork of University Arts Bournemouth Illustration students; coming soon! Remember, most of my creative finds can be viewed first if you follow my instagram feed.

Categories ,2013, ,Annihilation is Nigh: Cult of the Big Bang, ,Art Equals Happy, ,Brick Lane, ,Brighton University, ,British Empire, ,Camberwell College of Arts, ,Car Park Show, ,Carim Nahaboo, ,Cosmic Omelette, ,Degree Show, ,Edward Lear, ,Freya Faulkner, ,graduate, ,illustration, ,Jack Sachs, ,Jessica Weijia Zhang, ,Kim Smith, ,Lauren Doughty, ,Lucy Swan, ,Man from the South, ,review, ,Rich de Courcy, ,Roald Dahl, ,Ruta Daubure, ,Saara Karppinen, ,Sam Marot, ,Schiz, ,Siwei Tao, ,Sophia Parvinmehr, ,south bank, ,Susan Calvert, ,Susie Calvert, ,the rag factory, ,Titi Lee, ,University Arts Bournemouth, ,Wedges and Ledges, ,Well Said, ,Yiran Huang

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Amelia’s Magazine | Camberwell College of Arts: Well Said Illustration Degree Show 2013 Review

Well Said illustration show brochures
Nigh on a month ago the latest batch of talented graduates from the Camberwell College of Arts illustration degree course put on their standalone show at The Rag Factory, a big white warehouse space that offers the perfect blank canvas. It also happens to be fantastically close to my home, making it a super easy destination for me. I was sad to have missed the Brighton University illustration degree show this year due to a family break in Pembrokeshire, but since the Car Park Show was held in deepest darkest Fulham it’s doubtful I would have made it anyway. There’s a reason why so many shows are held in East London: a huge amount of creatives live and work around here, and there are an awful lot of graduate shows to see.

Camberwell illustration Well Said show 2013 invite
The students from Well Said show ensured I knew the dates of their exhibition by sending me this delightful illustration package: there’s nothing like a tangible invite to build excitement. And as ever, they had produced a wonderful promotional book, seen above attractively piled on the floor. Predictably, this was a very strong showing from one of the best illustration courses in the country. Here’s what I found.

Sophia Parvinmehr camberwell
This exploration of the nervous system is by Sophia Parvinmehr.

Yiran Huang Camberwell
Yiran Huang Camberwell close up
Yiran Huang Camberwell business cards
Yiran Huang made this huge mandala type pattern that looks equally good in close up. She had also made possibly the best business cards ever: hand drawn cats, each in different poses. Love them. May have taken three.

Camberwell installation
Ruta Daubure
This brilliantly oddball installation is by Ruta Daubure, whose optical set designs for opera act like a strange human camouflage.

Carim Nahaboo bumble bee
This beautifully drawn bumble bee is by Carim Nahaboo. Bees are everywhere this year, which means they are obviously on people’s minds. Given the number of dead bees I’ve seen recently, this is definitely a good thing.

Siwei Tao- Schiz Camberwell
Siwei Tao Camberwell
Schiz by Siwei Tao is wonderfully odd, as is this strange image of detached arms in pots…

Lauren Doughty, Man from the South by Roald Dahl
Lauren Doughty
I love this narrative painted illustration by Lauren Doughty, based on Man from the South by Roald Dahl. Her work is just so fabulously sploshy, and I so dig that 80s influence on the colour palette.

Susan Calvert installation
Susie Calvert
Susan Calvert made this installation of wonderful painted wooden landscapes, which she showed alongside this gigantic oil pastel abstract.

Sam Marot 'British Empire' prints
lion poster image by Sam Marot
Sam Marot‘s ‘British Empire‘ prints tackled a thorny subject to produce some interesting work, including this striking lion poster.

Footballer by jack_sachs
Hello sexy lady! Jack Sachs
The jovial abstracted footballer is by Jack Sachs, as is this ‘sexy lady’ which mimics the typical pose of a page three lass. When I posted this image on instagram it caused a bit of a stir; but I don’t find Jack’s depiction offensive or irritating, rather it appears to question a fixation with everyday sexualisation in a knowing and humorous way.

Wedges and Ledges by Rich de Courcy south bank
Wedges and Ledges by Rich de Courcy
I absolutely adored this brilliant screen printed book by Rich de Courcy. Wedges and Ledges was inspired by a love of skateboarding in London, paying homage to much loved places such as the threatened skatepark under the brutalist South Bank arches, now immortalised in bright colours (sign the petition to save it here). I so wanted to take one of these little beauties home.

Cosmic Omelette mobile by Saara Karppinen
This Cosmic Omelette mobile by Saara Karppinen was inspired by a Finnish creation myth.

crafty display by Kim smith happy
Kim Smith of Art Equals Happy had put together a beautiful crafty display that ably showcased her beautiful handspun wares. I especially love her hand-written watercolour typography. See more on her website here.

embroidery with frogs by Titi Lee. London Underground
Upstairs I encountered an astonishing and large embroidered appliqué covered with jocular frogs by Titi Lee (this is a close up). This surreal vignette is based on her experience of using the London Underground.

Jessica Weijia Zhang - based on Edward Lear
Jessica Weijia Zhang had produced this slightly crackers illustration based on poems by Edward Lear.

Lucy Swan religious inspired illustrations
Lucy Swan‘s intricate line illustrations tackled the uncomfortable relationship between religion and money.

Magical eye print by Freya Faulkner
Pottery by Freya Faulkner
And finally, this magical eye print was one of an awe inspiring display put together by Freya Faulkner, titled Annihilation is Nigh: Cult of the Big Bang. Her rhythmical artwork and fabulous illustrated ceramics reflect the warring factions of matter and antimatter in brilliant narrative style.

My last graduate review will feature the artwork of University Arts Bournemouth Illustration students; coming soon! Remember, most of my creative finds can be viewed first if you follow my instagram feed.

Categories ,2013, ,Annihilation is Nigh: Cult of the Big Bang, ,Art Equals Happy, ,Brick Lane, ,Brighton University, ,British Empire, ,Camberwell College of Arts, ,Car Park Show, ,Carim Nahaboo, ,Cosmic Omelette, ,Degree Show, ,Edward Lear, ,Freya Faulkner, ,graduate, ,illustration, ,Jack Sachs, ,Jessica Weijia Zhang, ,Kim Smith, ,Lauren Doughty, ,Lucy Swan, ,Man from the South, ,review, ,Rich de Courcy, ,Roald Dahl, ,Ruta Daubure, ,Saara Karppinen, ,Sam Marot, ,Schiz, ,Siwei Tao, ,Sophia Parvinmehr, ,south bank, ,Susan Calvert, ,Susie Calvert, ,the rag factory, ,Titi Lee, ,University Arts Bournemouth, ,Wedges and Ledges, ,Well Said, ,Yiran Huang

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