Amelia’s Magazine | Tent London 2011 Review: Best Ceramics Design

Tent London 2012 review -Bodo Sperlein for Niko
Tent London 2012 review -Bodo Sperlein for Niko
The ceramics on display at Tent London were wonderfully varied. I loved these curvy stacks of bowls inspired by the shapes of blossoms, treatment by Bodo Sperlein for Niko. The pastel hues made the plates seem edible in themselves.

Tent London 2012 review -Makiko Nakamura
Tent London 2012 review Wenhui Li.
I was very pleased to see the work from two ceramicists that I picked up on at the graduate shows: RCA graduate Makiko Nakamura and Central Saint Martins graduate Wenhui Li.

Tent London 2012 review -Kitty and Dude
Tent London 2012 review -Kitty and Dude
Tent London 2012 review -Kitty and Dude
Tent London 2012 review -Kitty and Dude
Edinburgh’s Kitty and Dude had styled their stand to perfection with old school treats. On closer inspection all their goodies were revealed to be new.

Tent London 2012 review -Ikuko Iwamoto Ceramics
Tent London 2012 review -Ikuko Iwamoto Ceramics
Ladybirds on a plate and a vaguely phallic display of pots from Ikuko Iwamoto Ceramics. Apparently intended for a surreal tea ceremony.

Tent London 2012 review -Richard Brendon
Tent London 2012 review -Richard Brendon
Sussed is a platform for sustainable innovation and featured these gorgeous reclaimed mismatched cups and saucers which had been dipped in reflective luster to create a newly matching pairs. Created by Kingston graduate Richard Brendon, page who sells in Wolf & Badger.

bettinanissen-makeawish-gold-crop
For those who are looking into non traditional ways of creating objects 3D printing provides another option to explore. At the Shapeways stand I was most taken by the designs of Bettina Nissen. I loved the idea of Make A Wish, which is designed as a keepsake birthday gift. It can be placed on a cake like a traditional candle and then the candle holder itself makes a curiously pretty ring design to keep.

Don’t forget to take a look at my reviews of furniture at Tent London and surface design at Tent London this year.

Categories ,2011, ,3D Printing, ,Bettina Nissen, ,Bodo Sperlein for Niko, ,Central Saint Martins, ,ceramics, ,graduate, ,Ikuko Iwamoto Ceramics, ,Kingston University, ,London Design Festival, ,Make A Wish, ,Makiko Nakamura, ,rca, ,review, ,Richard Brendon, ,Ring, ,Shapeways, ,Sussed, ,sustainable, ,Tent London, ,Wenhui Li, ,Wolf & Badger

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Amelia’s Magazine | Tent London 2011 Review: Best Ceramics Design

Tent London 2012 review -Bodo Sperlein for Niko
Tent London 2012 review -Bodo Sperlein for Niko
The ceramics on display at Tent London were wonderfully varied. I loved these curvy stacks of bowls inspired by the shapes of blossoms, by Bodo Sperlein for Niko. The pastel hues made the plates seem edible in themselves.

Tent London 2012 review -Makiko Nakamura
Tent London 2012 review Wenhui Li.
I was very pleased to see the work from two ceramicists that I picked up on at the graduate shows: RCA graduate Makiko Nakamura and Central Saint Martins graduate Wenhui Li.

Tent London 2012 review -Kitty and Dude
Tent London 2012 review -Kitty and Dude
Tent London 2012 review -Kitty and Dude
Tent London 2012 review -Kitty and Dude
Edinburgh’s Kitty and Dude had styled their stand to perfection with old school treats. On closer inspection all their goodies were revealed to be new.

Tent London 2012 review -Ikuko Iwamoto Ceramics
Tent London 2012 review -Ikuko Iwamoto Ceramics
Ladybirds on a plate and a vaguely phallic display of pots from Ikuko Iwamoto Ceramics. Apparently intended for a surreal tea ceremony.

Tent London 2012 review -Richard Brendon
Tent London 2012 review -Richard Brendon
Sussed is a platform for sustainable innovation and featured these gorgeous reclaimed mismatched cups and saucers which had been dipped in reflective luster to create a newly matching pairs. Created by Kingston graduate Richard Brendon, who sells in Wolf & Badger.

bettinanissen-makeawish-gold-crop
For those who are looking into non traditional ways of creating objects 3D printing provides another option to explore. At the Shapeways stand I was most taken by the designs of Bettina Nissen. I loved the idea of Make A Wish, which is designed as a keepsake birthday gift. It can be placed on a cake like a traditional candle and then the candle holder itself makes a curiously pretty ring design to keep.

Don’t forget to take a look at my reviews of furniture at Tent London and surface design at Tent London this year.



Categories ,2011, ,3D Printing, ,Bettina Nissen, ,Bodo Sperlein for Niko, ,Central Saint Martins, ,ceramics, ,graduate, ,Ikuko Iwamoto Ceramics, ,Kingston University, ,London Design Festival, ,Make A Wish, ,Makiko Nakamura, ,rca, ,review, ,Richard Brendon, ,Ring, ,Shapeways, ,Sussed, ,sustainable, ,Tent London, ,Wenhui Li, ,Wolf & Badger

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Amelia’s Magazine | Tent London 2011 Review: Kingston University MA Illustration Exhibition

Tent London 2012 review -Jihyun Park, <a target=illness ” title=”Tent London 2012 review -Jihyun Park, erectile ” width=”480″ height=”640″ class=”aligncenter size-full wp-image-53317″ />
Illustration by Jihyun Park.

This year Kingston University once more took out space at Tent London in order to showcase the work of just graduated MA students.

Tent London 2012 review -Jihyun Park
In the illustration section I loved work by Jihyun Park, a Tokyo and London based illustrator who daubs fantastical creatures in works in childish combinations of colours.

Tent London 2012 review -Zeun Han
Tent London 2012 review -Zeun Han
Zeun Han worked on the theme of The Ordinary Day, with the explanation that Daddy bellows Blue but Mommy yells YELLOW! I particularly loved the beautiful way that business cards and visitor book were displayed.

Tent London 2012 review -Jacky Tong
Tent London 2012 review -Jacky Tong
Tent London 2012 review -Jacky Tong
Tent London 2012 review -Jacky Tong
Hong Kong based illustrator Jacky Tong stood out for great ideas that provocatively explored themes of sustainability and animal rights. I particularly loved the monkeys eating a human brain, printed on to a mirror so that the viewer could cleverly project themselves into the scene.

Tent London 2012 review -Chen Bin Wu
Tent London 2012 review -Chen Bin Wu
Finally, I can find no trace of Chen Bin Wu on the internet, but I liked these 3D paper artworks, inspired by depictions of dragons in different cultures.

Categories ,2011, ,Chen Bin Wu, ,Dragons, ,illustration, ,Jacky Tong, ,Kingston University, ,review, ,sustainability, ,The Ordinary Day, ,Zeun Han

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Amelia’s Magazine | Tidy Kingston: Kingston University BA Illustration & Animation Graduate Show 2015

Lizzie Lomax vertical farming
A few weeks ago Snarf and I made it along to the Kingston BA Illustration & Animation graduate show, Tidy Kingston, a reference to the organising of a diverse range of work and personalities. Hosted at the Embassy Tea Gallery in Bermondsey, here is my selection of graduates to watch.

Lizzie lomax kingston uni
Firstly, a few close ups of the Bigger Picture by Lizzie Lomax, inspired by the concept of vertical farming (top).

Emma Erhling Kingston uni
We both loved this ice cream van model by Emma Ehrling and the animation, Mint, was great: featuring a cat that turns into ice cream and escapes through the cat flap!

Reece Wykes kingston uni
These cracking glaciers are by Reece Wykes, based on an expedition to the South Pole.

Summer Bee kingston uni
Summer Bee (Bi Cong) created these cute illustrations for a children’s book about a child searching for their father. Snarf enjoyed picking out the objects.

Chester Holme kingston uni
Chester Holme comic kingston
This modernist housing print is by Chester Holme, who also created intricate esoteric comic artwork.

Yuet Alice Lai kingston uni
This animation artwork is by Yuet Alice Lai, from a surreal story about what happens to little brothers if they eat watermelon seeds!

Twin Trash kingston uni
We really enjoyed BlueBarry – another surreal animation by Twin Trash (Tommy and Marcus Vad Flaatan) featuring an assortment of madcap birds wanting to eat to daring a couple of daring blueberries.

Anni Sayers kingston uni
Lastly, these pots with faces by Anni Sayers are inspired by the parliamentary cabinet, highlighting the elaborate nature of political proceedings.

Categories ,2015, ,Anni Sayers, ,Bi Cong, ,Bigger Picture, ,BlueBarry, ,Chester Holme, ,Embassy Tea Gallery, ,Emma Ehrling, ,Graduate Show, ,Kingston BA Illustration Animation, ,Kingston University, ,Lizzie Lomax, ,Mint, ,Reece Wykes, ,review, ,Snarf, ,Snarfle, ,Summer Bee, ,Tidy Kingston, ,Tommy and Marcus Vad Flaatan, ,Twin Trash, ,Yuet Alice Lai

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Amelia’s Magazine | V&A Illustration Awards 2011 Review

V&A Illustration Awards 2011 review-Hannah Simpson
Hannah Simpson with her award.

Last week I attended the annual V&A Illustration Awards ceremony for the first time on Monday 6th June. Judged by luminaries such as Rob Ryan and writers Bel Mooney and Francesca Gavin, remedy this award has a long and illustrious heritage.

detail_kugler__editorial__a_tea_in_iran
Olivier Kugler won the main editorial award for his depiction of a truck driver’s journey across Iran, viagra buy but I was more interested in the work of some of the runners up.

the_iron_man_2011_cover
V&A Illustration Awards 2011 review-Laura Carlin
Laura Carlin floral
Laura Carlin produced a beautiful re-imagining of The Iron Man by Ted Hughes to win Best Illustrated Book. She is an accomplished ceramic artist, thumb isn’t this bowl beautiful?

lorenzo_petrantoni_book_cover_boxer_beetle
Best Book Cover was won by Lorenzo Petrantoni for his bold Boxer Beetle front cover, which employs a style that stems from a love of curious old world illustrations. He recombines found imagery to make collages, giving new life to forgotten art. He currently lives and works in Italy.

mike_redmond__before_the_dive__awkward_people_in_funny_situations
RCA illustration student Mike Redmond won the overall student prize for his intricate Awkward People in Funny Situations. Most of his studies begin in sketchbooks, where he notes down the thoughts, things and events which prompt him to explore relationships in his narrative illustrations.

V&A Illustration Awards 2011 review-Hannah Simpson portrait
But I was perhaps most interested of all in the work of the student prize runner up – that of Hannah Simpson, who is just finishing her second year on the Illustration course at Kingston University and has recently begun contributing some wonderful artwork to Amelia’s Magazine. Her Bacteria series was made using round zinc plates, reminiscent of Petri dishes. The microscopic shapes of the bacteria have been replaced by minute human bodies arranged in bacterial patterns to emphasise the hold that bacteria has over humankind. The prints were made in coloured ink to echo the way that bacteria are stained to become visible to the human eye.

Plague by Hannah Simpson
Plague by Hannah Simpson.

cholera by Hannah Simpson
Cholera by Hannah Simpson.

Anthrax by Hannah Simpson
Anthrax by Hannah Simpson.

The V&A Illustration Awards exhibition is on until 17th December, so next time you are lurking around the area why not duck in and take a look?

Categories ,Anthrax, ,Awkward People in Funny Situations, ,Bacteria, ,Bel Mooney, ,Best Book Cover, ,Best Illustrated Book, ,Boxer Beetle, ,Cholera, ,Collaged, ,etchings, ,Francesca Gavin, ,Hannah Simpson, ,Iran, ,Kingston University, ,Laura Carlin, ,Lorenzo Petrantoni, ,Mike Redmond, ,Olivier Kugler, ,Plague, ,rob ryan, ,Student Prize, ,Ted Hughes, ,The Iron Man, ,V&A Illustration Awards, ,va

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Amelia’s Magazine | Sirens: an interview with artist Rosie Emerson

Rosie Emerson Capella edition 1 of 5 by Rosie Emerson, Cyanotype, 42 x 61 cm

Capella edition 1 of 5, Cyanotype, 42 x 61 cm

Rosie Emerson explores the ancient form of Cyanotype printing in her new Sirens’ show at the Hang Up Gallery, with a series of 18 works ranging in size from 12cm up to 6ft. Here she explains more about the extraordinary techniques employed in her beautiful artworks and what she looks for in the models she works with. She also shares some sage advice for all aspiring artists.

Portrait of Rosie Emerson

How do you chance upon the many techniques that you employ in your art pieces?
Oooh, interesting question, I guess initially that was from my fine art education at Kingston University, back in 2004. We were encouraged to try new media, and so I worked with screen-printing, etching and film there. Even then I was mixing up different media; creating solvent transfer prints on canvas and then embroidering over the top and painting onto screen-prints. I’m still mixing things up now, and am always interested in both creating new techniques and discovering old ones.

Recently I have been screen-printing using natural materials, like ash, sawdust and charcoal powder. I wanted to create prints which were imperfect and softer, and I looked into the technology used in flocking and adapted it. Charcoal is one of the most exciting and volatile of materials to use, I like not knowing how a print is going to turn out. My dad is also a cabinetmaker so he has been saving me different types of saw dust from his workshop.

Rosie Emerson Rhoda edition 1 of 2

Rhoda edition 1 of 2.

What has been your favorite discovery so far, and why is it so fun to play with?
At the moment it is an old process called Cyanotype printing. I only started using it to create work this year, and this work is forming my Solo show ‘Sirens’ which opens next week at Hang Up Gallery in Stoke Newington, London. It’s a brilliantly playful process; I’m combining real size negatives with objects – everything from shells to branches to salt – to create two tone, one off or small editions of prints. The process responds to UV light, so I even made some using the sun.

Rosie Emerson Selene

Selene.

What do you look for in a model for your artwork?
My work to date has involved solitary figures, they are mostly friends or friends of friends, although I have worked with some wonderful professional models such as Daisy Lowe and Amber Le Bon to name drop a few. It is not so important for me if they are known figures or not, It’s about an interesting face – I am always drawn to strong looking women, although recently I have made softer, more introspective pieces. I have just started taking my own pictures rather than working collaboratively with photographers, which means directing models is something I am improving at. I’ve worked with some great photographers namely Becky Palmer and Mark Bayley and I can now say ‘press you lips together’, rather than can you ‘shut your mouth’ for example. It is very important for me that things are unrushed and everyone is enjoying the shoot, that’s when the unexpected and the creative are allowed to happen.

Rosie Emerson Marlene Dietrich #6

Marlene Dietrich #6.

You also dabble in film, what can the viewer expect from this experience?
Yes, alongside my Cyanotypes in the ‘Sirens’ show I am showing a short Super 8 film. It’s not too far removed from the photographic works upstairs, but film is a fantastic and I think provocative medium, which in the case of ‘White Knight’ raises ideas about looking at people looking at art, so the relationship between the audience and model is subtly flipped, and the viewer becomes the subject.

siren #2 by Rosie Emerson, Cyanotype, 74 cm dimensions round

Siren #2, Cyanotype, 74 cm x 74cm.

How did a degree in fine art set you up for the real world?
Hmm, it didn’t really, we had a great lecture from an outside guest, who offered up some pearls of wisdom, namely about your most useful network being your peers sitting next to you. The course was mostly practical and conceptually led. We had a tiny module called professional practice.

Isis by Rosie Emerson, Cyanotype, 112cm x 76 cm

Isis, Cyanotype, 112cm x 76 cm.

You have exhibited in numerous places around the world, what has been the most memorable occasion or event and why?
Yes, one of the first international projects I did was in Tel Aviv and it was really exciting to see pictures of my work up there. Sadly I am stuck in the studio in London for many of the international shows and art fairs that I do, but I am planning a trip to the West coast of America later this year. I’d love to show some work there, and perhaps make some more work whilst I’m there too.

Rosie Emerson Shrine # 1

Shrine #1.

What advice would you give an up and coming artist when it comes to finding your feet in the ‘real world’?
I say, go for it, then if you’re finding it hard, think long and hard about whether this is something you want to do… really want to do, and if you can’t imagine doing anything else, think about it a bit harder. Think about whether you have the self motivation and are happy to live life with a insecure income, whether you are prepared to put yourself out there to potentially fail and then have to pick yourself up again. And then, if you still really want to be an artist, find a way to make it work. Very few artists live solely off their income as an artist, so think about something else you can do alongside making art. Get a studio, be strict with yourself about making work, apply for everything and anything that takes your fancy, and don’t worry about the rejections. Organize things yourself and don’t wait for things to happen. I quote artist Byron Pritchard, when he says ‘the world doesn’t owe you a job’.

Sirens opens soon at the Hang Up Gallery – read my full listing here. See more work by Rosie Emerson here.

Categories ,Amber Le Bon, ,Becky Palmer, ,Byron Pritchard, ,Cyanotype printing, ,daisy lowe, ,exhibition, ,hackney, ,Hang Up Gallery, ,interview, ,Kingston University, ,Mark Bayley, ,Rosie Emerson, ,Sirens, ,Tel Aviv, ,White Knight

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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 | Pick Me Up Contemporary Graphic Art Fair 2011: Sam Arthur of Nobrow speaks at Mokita

Sam Arthur of Nobrow by Yelena Bryksenkova
Sam Arthur of Nobrow by Yelena Bryksenkova
Sam Arthur of Nobrow by Yelena Bryksenkova.

Since Nobrow burst onto the scene in 2008 I’ve been a massive fan of their beautifully produced books and magazines – somehow they’ve managed to print a huge collection of work in just a short space of time and for the past two years they’ve been showcasing their wares at Pick Me Up. This year several of their featured artists were also amongst the newer names showing in the Ones to Watch section on the first floor so I was intrigued to hear Sam Arthur, this one half of Nobrow, medicine in conversation with Kingston University illustration lecturer Geoff Grandfield with interjections from Adrian Shaughnessy and Valerie Perezon. Below is a rough transcription of the conversation that ensued during the Mokita Symposium.

Nobrow 5 - A Few of My Favourite Things
Nobrow 5 – A Few of My Favourite Things.

Geoff: How did you decide that there was a market for your work?
Sam: We were inspired by publishers such as Le Dernier Cri, Bongout, and Fantagraphics: small places with an avante garde output. And we felt we could do something similar in this country. We’ve both been through the art college system, but I felt that most illustration was very industry based, always destined for a client. No one was generating their own material, for their own sake, so we felt there might be a gap in the market that we could exploit. Our aim is to get illustrators to do their own work – we just set a theme and a colour palette. We were unsure it would take off but we knew it was really important to print everything nicely.

Nobrow 5 - A Few of My Favourite ThingsNobrow 5 - A Few of My Favourite Things
Pages from Nobrow 5 – A Few of My Favourite Things

Geoff: In a way you turned the clock back.
Sam: We have a mix of influences, but we love all the old methods of printing. I guess these anachronistic methods of production have met the internet with Nobrow. People say that we have a very strong look but we love lots of different types of work and I think the similarity comes from the way we print things, and our restricted colour palettes. We look at every bit of work that comes to us and store it in memory bank for later. Then we might come back to it at the right time and ask does it communicate the right idea and can we work with this person on an individual basis? We are drawn to relatively expensive ways of printing, which is quite risky really but we want our stuff to look good, smell good and feel good.

Ford Almanac 1964
One of the images Sam chose for a slide show: a famous cover of the Ford Almanac 1964, illustrated by Charley Harper.

Geoff: Like scratch ‘n’ sniff?
Sam: There is definitely a shift back towards attention to detail; I had a paper merchant in recently and she was trying to push coated paper stock onto me, but of course I wasn’t interested. She moaned that no new graphic designer will ever uses it – I guess it’s because we like to be different and coated stock seems so common.
Geoff: Who is your audience?
Sam: In terms of an easily identifiable market it’s mainly students and working practitioners – there is a danger that we will never turn a profit and it will always be that way… For the people that aren’t so easy to label I’m sure there’s some marketing speak for them… maybe Rainbow Sky Crap Thinkers or something! But for us the most important thing is to remain close to our customers via our website and social networking.
Adrian: Mark Valli of Magma said he set up the shop because he realised that there was a big non professional audience, so maybe that is changing?…

Nobrow 5 - A Few of My Favourite ThingsNobrow 5 - A Few of My Favourite Things
Nobrow 5 – A Few of My Favourite Things.

Valerie Perezon: What is your editorial line?
Sam: We don’t mind how you describe yourself, we just chose what we like. Online we can be more adaptable, for example in a blog you can put across whatever idea of yourself you like. You can be illustrator or an artist one week and then a circus performer the next. But it all starts with being able to draw and communicate. For example we saw Jack Teagle at his graduate show and he immediately grabbed us. We are quite often drawn to print making because we like the restrictions of spot colour techniques but I think our tastes are quite diverse: we’re currently working with John Sibbick, who over the years has worked on dinosaur pictures and heavy metal covers.

The Bento Bestiary, illustrated by Ben Newman, former Amelia's Magazine contributor
The Bento Bestiary, illustrated by Ben Newman, former Amelia’s Magazine contributor.

Geoff: Do you ever tackle themes of social change?
Sam: We like to keep our themes interpretable, so that leaves them open to tackle social issues if people want to.

The Bento Bestiary, illustrated by Ben Newman, former Amelia's Magazine contributor
The Bento Bestiary, illustrated by Ben Newman.

Geoff: Did you know that 40% of the printed matter in world is Manga?
Sam: Because the magazine we produce is made up of collections of images on a theme it does tend to limit our mass appeal.
Adrian: There has generally been a huge move towards a very visual culture, but in UK we are still very much a literary culture – we value the word above all and image is not valued as much, apart from the F-word that is, photography… which is revered and valued.
Sam: The French publishing industry is underwritten by the government but here illustrated books are still seen as for children.
Adrian: I think the biggest drivers of imagery come from subcultures where the image is revered, but is it a weapon or a platform? Because something comes from a subculture does that mean by definition that it has a limited period of interest?
Sam: Yeah, and if I become too trendy then I cease to be… but I’m not trendy so that’s fine. Even if we did sell Nobrow Magazine in WHSmith no one would buy it so we know this title will always be relatively niche.

The Bento Bestiary, illustrated by Ben Newman, former Amelia's Magazine contributor
The Bento Bestiary, illustrated by Ben Newman.

The Bento Bestiary is out now and the fifth issue of Nobrow magazine has just been released with the title A Few of My Favourite Things.

Read my transcript of James Jarvis’ talk at Mokita, my review of the whole Mokita symposium or my review of this years Pick Me Up exhibition.

PS: I did scratch ‘n’ sniff for issue 04 of Amelia’s Magazine.

Categories ,A Few of My Favourite Things, ,Adrian Shaughnessy, ,Ben Newman, ,Bongout, ,Charley Harper, ,comics, ,Fantagraphics, ,Ford Almanac, ,Geoff Grandfield, ,Graphic Cosmography, ,Jack Teagle, ,Kingston University, ,Le Dernier Cri, ,Magma, ,Manga, ,Mark Valli, ,Mokita, ,Nobrow, ,Nobrow Press, ,Pick Me Up, ,Sam Arthur, ,scratch ‘n’ sniff, ,Somerset House, ,The Bento Bestiary, ,Valerie Perezon, ,Yelena Bryksenkova

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Amelia’s Magazine | Pick Me Up Contemporary Graphic Art Fair 2012: Pick Me Up Selects Review

Pick Me Up 2012 - Zim & Zou
Pick Me Up Selects – Zim & Zou.

There is one major problem with a trip to Pick Me Up contemporary graphic art fair: the vast choice of amazing artwork. Where then does one start when writing a review, or making a purchase for the wall? From what I hear most people come away with far more than they planned to, so make sure you set yourself a realistic budget before you go in. You have been warned…

Pick Me Up 2012 -Zeloot
Pick Me Up Selects – Zeloot.

The ground floor entrance is this year devoted to Pick Me Up Selects, the work of up and coming artists who have been chosen by a group of industry insiders, including Camilla Parsons of Outline Editions, John O’Reilly of Varoom Magazine and Angharad Lewis of Grafik Magazine. I was delighted by this year’s selection, which seemed more diverse and truly representative of little known artists than has been true in previous years. Here’s my highlights: some new discoveries as well as old favourites!

Pick Me Up 2012 - Zim & Zou
First up are some stunning neon and metallic papercut artworks by a duo: Zim & Zou, who are Lucie Thomas of the UK and Thibault Zimmerman, now working together in Nancy, France.

Riikka Sormunen
It was great to see work that has a distinct if not overt fashion illustration flavour: Riikka Sormunen‘s background in fashion design is evident in her intricate narrative pictures of elegantly dressed women.

Niki Pilkington
Similarly Nikki Pilkington combines fine pencil drawn figures with colourful collaged details.

Pick Me Up 2012 -http://mcdonaghillustration.com/
Opposite this are pictures by Tim McDonagh, a graduate of the University of Westminster whom I raved about when I discovered him at his graduate show in 2010. I am not sure how his mind works but as this detail shows it must be a complicated place.

Yoko Furusho
Next up, another familiar face. The New York based illustrator Yoko Furusho features in my first book Amelia’s Anthology of Illustration, and her beautiful work is looking as uniquely fantastic as ever.

Sarah maycock bear
Sarah Maycock is another artist who I spotted at the Kingston University graduate show last year: I even own my very own screenprinted version of her fox! #luckyme

Pick Me Up 2012 -matthew the horse
Pick Me Up 2012 -matthew the horse
Pick Me Up 2012 -matthew the horse
Matthew the Horse is the zany pseudonym of a graduate from Bath Spa University. He is inspired by language and feelings and his very yellow collection of images is based around jobs and identities. I especially like the hyacinth bulbs and a curious monkey.

Pick Me Up 2012 -Sac Magique
There is definitely a strain of 80s inspired illustration coming through at the moment – Finnish designer Sac Magique is one example…

Pick Me Up 2012 -Martin Nicolausson
as is Swedish designer Martin Nicolausson, who veers ever more towards the surreal.

Pick Me Up 2012 -Zeloot
Pick Me Up 2012 -zeloot
I was also most taken with psychedelic work by Dutch designer Zeloot that has a distinct 60s flavour in both colour and content. She likes designing within the limitations of silk screenprinting.

Pick Me Up 2012 -Kristjana S Williams
Kristjana S Williams is the creative director of Beyond the Valley so you may well already be familiar with her magical landscapes created out of collage and metallic elements.

Pick Me Up 2012 -Sarah Beeston
Australian illustrator Sarah Beeston studied at Falmouth College of Arts before settling in London, where she became preoccupied with politics and perversities of popular culture. She is creating live portraits at Pick Me Up every day!

Pick Me Up 2012 -Yuko Michishita
S for Shells by Yuko Michishita is a beautiful example of handdrawn typography, a swirl of intricate pen lines.

And then it’s on upstairs, where a host of collectives have been invited to display their wares in the long gallery space… find out who to catch in my next instalment…. in the meantime check out my listings for recommended workshops and talks.

Categories ,2012, ,60s, ,80s, ,Amelia’s Anthology of Illustration, ,Angharad Lewis, ,Bath Spa University, ,Beyond the Valley, ,Camilla Parsons, ,Falmouth College of Arts, ,Fashion Illustration, ,Grafik magazine, ,illustration, ,John O’Reilly, ,Kingston University, ,Kristjana S Williams, ,Lucie Thomas, ,Martin Nicolausson, ,Matthew the Horse, ,Niki Pilkington, ,Outline Editions, ,Papercraft, ,Pick Me Up London, ,Pick Me Up Selects, ,review, ,Riikka Sormunen, ,Sac Magique, ,Sarah Beeston, ,Thibault Zimmerman, ,Tim McDonagh, ,Type, ,University of Westminster, ,Varoom Magazine, ,Yoko Furusho, ,Yuko Michishita, ,Zeloot, ,Zim & Zou

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