Amalgamate 2012- Rowan Laubsch

I was lucky enough to have taught Rowan Laubsch when he was in secondary school. He has an awesome eye for design and attention to detail. His blurb on the Amalgamate website reads:

“Rowan Laubsch enjoys working in areas of design including packaging, typography and branding. Taking a clean, minimalist approach, he explores possibilities to reach unique concepts, which add intrigue to the design outcome. A discovered passion for the tactility of paper led to his desire to pursue a career specialised in print design.”

“Tea Lab” was his response to a brief to develop the branding and packaging of a luxury item. This design won him the student Australian Graphic Design Association (AGDA) award for three-dimensional design.

It draws connections between brewing tea and the field of chemistry.  The catalogue of flavours mimics the periodic table linking the names of tea styles with letters similar to those in the periodic table, with each variety corresponding to a different colour. The bags are packaged in a square box with the information about the tea written in a white section on the side. The exterior makes use of dynamic angles similar to those contained in the logo to add interest to the package. The coloured section has been embossed to create a tactile component to the design.

Throughout the packaging the angles of the colour blocks are set at that of a hexagon, these hexagonal elements mimic the shapes found in carbon chains and the interlocking nature of covalent bonds.

Also, the grid that fills the entire package and catalogue is also an isometric grid of repeated hexagons. The identity logo itself was also drawn from this hexagonal grid.

The logo utilises positive and negative space to accentuate the interlocking box shapes that form the “T and L” this makes it both visually appealing as well as communicating the brand name. The tea boxes are reflected in the design as well as the chemistry theme.
The overall design is particularly successful in communicating to the tea enthusiast the nature of the product and the complexity that exists within. For the novice it is an easy to understand; organised format to communicate simply the product range.

Amalgamate website: Rowan Laubsch

Amalgamate 2012- Victoria Casson

Amalgamate is the title of the University of South Australian 2012 Bachelor of Visual Communications Graduate Exhibition. A vast array of work was on display from two main genres of Design, Illustration and Graphic Design. I was impressed by the overall standard of the work which featured a wide array of media and technique. Victoria Casson’s work caught my eye.

A specialist in illustration; Victoria Casson works in both traditional and digital media, with a keen interest in inks and watercolour. Her work caught my eye as it was fresh and vibrant and clearly conveyed a personal meaning.

“Empowerment”, 2012, was designed for a brief which had a citizenship theme. The image is of a young lady in a white dress swinging, with legs outstretched on the branches of an old tree. The tree takes the form of an old Aboriginal Australian man; kneeling with his bearded face bowed in quiet contemplation he looks ancient and wise. Green foliage extends from the branches with loose playful lines. The whole scene is aglow with deep green light which has been washed onto the surface. This work mixes wash with pen and ink to create an organic feel that highlights the natural nature of Indigenous Australians. Line is a unifying element along with colour. The dynamic angular line creates an energy which complements the static forms of the tree and balances the work. Light has been used to direct the viewer and highlight these dynamic features.

Victoria’s approach through this work it to explore the lessons we learn and the growth we can experience from a life of good citizenship. It is about how we share our choices now with those around us as a legacy for future generations. The Aboriginal imagery is an element which connects the female figure to a timeless natural existence. It is not restrictive at all on the contrary the association allows the female to soar cradled in the safe arms of those who have travelled this world before us.

“Connect” 2012 is an illustration with two figures,each a mirror image of the other. They unashamedly face each other naked and cross-legged in front of a large full moon or celestial body. They are in a meditative pose with one hand raised seemingly to sense the other. The background is blue and rhythmic; haphazardly brushed. At various points the two figures overlap. At this intersection the colours merge into a blue grey. The figures float in the space attached to nothing but each other and the glowing moon above them. This work uses symmetry to great effect; developing an interplay between the shapes. The line work is simple and boarders the complex forms well. It is more solid and contrived rather than organic and flexible.

“Connect” was created as part of a series exploring the mental, physical and spiritual benefits of meditation. This work explores a self-connection and awareness. How, through becoming more self-aware we can learn more about who we are and our place in the universe.

Victoria Casson is only at the beginning of her career and I am looking forward to seeing what she will produce in the future.

You can see more of Victoria’s work at her website.

www.victoriacasson.com

Ruby Chew- Spitting Image; honest reflections in paint.

I was lucky enough to attend the opening of Ruby Chew’s latest exhibition “Spitting Image” at Hill Smith Gallery on Wednesday night. I have heard a lot of good things about this new up and coming artist who is an honours graduate from the Adelaide Central School of Art. She also exhibited at the Helpmann Academy exhibition in 2011; and this was where I was first able to view her work.

Spitting image is flooded with colour; Ruby’s portraits are bold and full of life. They step out of the canvas and greet you, and at the same time invite you in for a closer look.

“Scott” 2012, is a portrait of a young Blond-haired man with a short moustache. He is shown bare-chested on a turquoise background with a red glitter circle behind his head. His arms are covered with tattoos; depicting what looks to be the Japanese Imperial Palace in Tokyo painted in a traditional Sumi-e style.  It is from this tattoo that the turquoise colour has been lifted to serve as the matt background. Scott is shown on an angle to the viewer, not quite three-quarter. The composition is formal; the solid red glitter ring accentuates the facial features and directs the eye over the painted arms and about the bright cherry red beads. The tonal qualities of the skin have been painted with great adherence to detail.

There is an element of contrast in the work; the soft tones of the skin in comparison to the matt tones of the background enhance the flesh.  While red circular shapes are repeated.

In Ruby Chew’s work there is a certain air of vulnerability and honesty. She shows her subject gently holding an object typically associated with femininity. The circle in the background is a halo and gives us an insight into the man. His eyes stare quietly out at us; his facial features are soft and thoughtful. Beads are often symbols of prayer. What is Scott praying for? As he holds these beads in his open hands he also reveals that he is open for a response.

Jude is a portrait of a young woman; her face has been painted with red paint. Four dots garnish each of her eyes. In the middle of her forehead is an inverted triangle. She is bare shouldered wearing a pink and red dress; painted with flat colour it stands out in comparison with her skin. In the background Ruby has placed another red triangle on a maroon background. This triangle points up, in contrast to the one on Jude’s forehead, extending almost to the top of the canvas.

She is a beautiful woman, with flashing green eyes that stare out as she stands in an angled pose. The look she gives us seems to be one of tentative curiosity. Her eyes contrast strongly with the red of her body paint, attracting our gaze to them.

The red triangle is symbolic of many things, though in this case it could be viewed as a symbol for fire.  The fire in her eyes and in her features has been captured with bold confidence. Again there is simple honesty in this work that entrances us. It directs us to want to know more. What is this fire that is apparent in “Jude”? In what way does it drive her? These questions are not so easily answered by staring at this work though we continue to do so.

Ruby Chew in this exhibition has painted, “painted” people. Many of her subjects have been decorated with tattoos, piercings jewellery. Normally such things are signs of people how have a rough exterior; however in Ruby’s subjects we see a gentle, honest human side. She opens up her subject in the painting to expose them in a truly beautiful way. The exhibition is open until the 24^th of November.

http://rubychewart.blogspot.com.au

http://www.hillsmithgallery.com.au/

Such Great Heights- Wonder Tent

Such Great Heights is a local Adelaide design business. I first saw their work at Bowerbird Bazaar and I am quietly hoping to see them again this month when the event returns.  They adopt a style that I would describe as retro chic. Reviving the nostalgic thoughts of camping or as would be the case for many people; those days of Saturday morning cartoons, Hanna Barbara and reading adventure novels such as the Boy’s and Girl’s own annual. The flagship product from this group is their “wonder tent”.

This tent is constructed from printed fabric atop sturdy wooden struts. These fit together easily and are made from Western Australian Karri and Jarrah. As these are hard woods they are solid and will definitely last a lifetime. They are constructed to form a triangular prism the shape to reflect the iconic tent of yesteryear.  The struts are designed to be slightly longer at the top, providing a feature which might reflect the assemblage of such a tent from sticks as a boy scout might do. The lower step has been visually softened and shaped to reflect a worn edge and in a practical way provides less of a tripping hazard for little people. The medium weight cotton canvas has a range of prints which reflect patterns popular in the 60’ and 70’s; with floral prints and geometric shapes. The colours used, compliment the wooden frames and enhance the shape.
This design is reflective of a “simpler time” often portrayed in movies and evokes feelings of elegance and simplicity. It has an attractive array of coverings making it able to fit with any home décor.

The Wonder tent in action at Bowerbird Bazaar

This is a design primarily for indoors though it would appear that the tent would be able to function virtually anywhere as it comes packed in its own water proof bag.  This design also has a visual strength in the utilisation of polished wood.

It appears sturdy and well-constructed; this is a rare feature in the world of today, where manufacturers often choose cheaper materials to save cost and design objects have a built-in obsolescence to make the consumer buy more. I think that we want to go back to an age where things lasted and simplicity was a feature!

With the internet flooding people’s lives with images of the new and latest technologies; toys that do not enhance the imagination of children as they once did. This is the humble play tent for children; no bells or whistles attached. Just good design!

Such Great Heights on Facebook

Etsy store

Tim Ide- Where illustration meets passion

Tim is a consummate illustrator who is very well-known, though most people may not know his name. He does work as a court sketch artist producing drawings that often illustrate the seedier side of life; his work often appears on the news or in the local paper. He currently is exhibiting his work at Mrs Harris’ shop located in Thebarton. The exhibition is titled “Off the Page” and features his work along with Deborah Baldassi   His style draws heavily on an illustrative tradition with bold outlines and watercolor fills. His strength lies in his ability to capture the moment in time; be it now or thousands of years ago. Tim also works in amateur theatre and is an art teacher (where I met him). He is a witty personality with a quirky sense of humour which comes through in much of his work.

“Conan” was completed in 2010 as an illustration for a comic book. It describes the moment in time when the muscular figure of Conan a Marvel comic book character jumps from the deck of one ship to another much to the terror and dismay of those who oppose him. With a shield held close to his chest and sword in his hand he is drawn into the fray.  His intense piercing eyes reflect stalwart concentration. The faces within this work have been rendered to exhibit expression. Textural detail has been applied to provide visual interest and dark and light tones upon the smooth shapes serve help to lead the eye about the work. Contrasting elements highlight the action and dynamic movement. I really enjoy the composition of this work shapes have been used to lead the eye; examples include the down pointed sword and pointed helmet. Rounded curves soften the dynamic movement and allow the eye to rest. This work is created for a select audience who understands the barbarian nature of the Conan character. His brash, dominating strength is exhibited in this work.

“Wyvern” is an illustration for a book on mythical creatures. A large green dragon is perched on a rock while two intrepid adventurer sneak up on the incredible creature; though their dog is somewhat lacking in bravery. In the distance we can see a thick foreboding forest with a small township lying beyond.

The textural components in this work along with the colour serve to capture the imagination of the viewer and intensify the action. Water colour and pen and ink highlight the line work and textural components in this piece.

I enjoy the humorous inclusion of the little dog as it provides an interesting aspect to the piece. Black line work; as a tool in illustration, serves to bring a greater contrast to sections of the work so the viewer is better able to notice them.  They were possibly at one time a necessary element to book illustrations because of the methods of reproducing images in the past. I suppose that now in the digital age this black line element is largely aesthetic.

Tom the outback mailman is a children’s book that Tim Ide has illustrated and is a storybook highlighting a real life outback character; Tom Kruse. Known as the Birdsville Mailman, he delivered mail and other supplies to a wide region of the outback from 1936 until 1957. The story of his two-week road trips was captured in a 50’s documentary Back of Beyond, putting him on the national stage. Tim Ide has brilliantly captured the colours and characters in the Australian Outback. Above is the cover artwork with the rich blue of the outback sky captured with the use of acrylics. The varied ethic groups of the outback are represented along with the truck, “The Badger”. All of the illustrations have an intimacy and typical Aussie humour about them.

Jack “the dogger” is one illustration contained within with Tom and Jack sharing a meal cooked on a shovel with dingo skins drying in the background.

The illustration style of Ide is one which embraces traditional methods, yet incorporates the reality of life in the bush. His direct line work and water-colour washes all serve to compliment the bright washed out colours of the outback.

This exhibition is open on Saturdays and Sundays throughout October 11:00am – 3:00pm

Tim Ide webpage

The Beginning of The End- Fiona Roberts and Claire Marsh

The Beginning of The End featuring the work of Fiona Roberts and Claire Marsh is a group of works that encapsulates both the grotesque and the surreal. They distort and manipulate the familiar in an effort to convey feelings of anxiety and suffering, as well as metamorphosis or decay. Within many artists there is a desire to test the boundaries of their own experience and see what may be uncovered. With this exhibition we are invited into this exploratory world and we cannot help but to look deeper at ourselves.

Fiona Roberts is an emerging artist based in South Australia. I first came across her work at the The Helpmann Academy Graduate Exhibition at the beginning of this year. Her work explores the fragility and decay of the human body as well as its limitations. Throughout her work one can identify an exploration of the relationships we have between our minds and our bodies. She explores the sometimes harsh perceptions we can have of ourselves; how we are often detached from the reality of our emotions and our sense of self. This in turn enhances our fears and phobias.
Her work sometimes borders on the grotesque using the human form as a canvas to transmit mood and feeling,
“Knot”, 2012 is about the size of a shoebox and was hiding at the top of the stairs as I entered this exhibition. Looking very much like a small animal that had nestled itself on the gallery floor. It is a mouth surrounded by human hair which twists and winds its way outward from the centre. Each hair has been painstakingly woven individually into what looks to be a wax base. The mouth is open with the teeth and tongue visible. The lips glisten in the light. The whole work is literally a ball of hair which extends and wraps around itself. It is circular in shape and the position of the hair drifting from the centre draw our eye to the gaping mouth. She relies on the texture to create visual interest in the work as well as the realistic structure of the mouth. To me this work evokes feelings of anxiety and tension particularly associated with mental health. I have heard it said that mental health practitioners could be described as combing the knots from the mind. This piece to me represents the power of these thoughts and the pain they can produce. Often it is our negative thoughts that are hardest to overcome.

Claire Marsh is also an emerging Artist with a flair for exploring the frailties of our human form. I wrote about her work earlier this year. She was also in the Helpmann Academy Graduate exhibition; her work explores metamorphosis and the duality of human nature.

“Cloven”, 2012 is a remarkable piece constructed from bee’s wax and kangaroo fur. There are two shoes one is upright and the other laying down displaying the base to the viewer. The base looks very much like the hoof of an animal. The front of the hoof faces the rear of the shoe so that the pointed end is where the wearer’s toe might be positioned. The textural qualities are what attract the eye to this work. Perhaps it is the naturalistic bone colour or the soft appearance of the fur. The work at first reminded me of the surrealist Méret Oppenheim’s fur tea-cup; though only in the way that Claire Marsh has applied the textural qualities to the surface. No, this piece is about transformation and metamorphosis; a theme common to her work. Upon deeper examination we can see a transformation into an animal-like form; for Marsh it is a metaphor for a broken body. Something that once existed in one state has now been shaped and altered into another, and can never be returned. There is a sense of loss but also of rebirth and beauty. Examining “Cloven” in the light of Claire Marsh’s personal experiences; the accident that left her unable to walk and her road to recovery, we are able at once to gain a glimpse into her world. It is a place of exploration and contemplation. Above all; the thing I admire most in Claire’s work is her visual honesty.

Fiona Roberts Blog

Claire Marsh Blog

The whimsical world of Ross Morgan

Ross Morgan is a multi-award winning artist whose studio is located in Adelaide Arcade. His work is surreal and illustrative. I first came upon his work during SALA.His inspiration comes from children’s book illustrators and film. He is a serendipitous painter who works in a stream of consciousness, where ach one of his works flows into the next and thus a story is perpetuated. I have chosen only a small selection of his paintings to describe here, though there are many more that go off on various tangents. His characters embark on a myriad of adventures crossing over into different genres and mediums. It is the story that fascinates me when I look at Ross Morgan’s work.

“Elephant on Skates”, 2011 is an elephant on bright red roller skates. One of the first in this series it describes an elephant performing in a circus. The centre ring is formed with red and yellow squares and the elephant performs; raising its trunk and lifting its leg. Yet in the background and on the circus floor there are faded blue prints of mechanical contraptions that speak of grand designs and distant dreams.  The contrasting elements that Morgan has used in this work stabilise the form of the elephant in the space. Dark and light tones serve to give the animal weight. The cream background is softened with white creating a dusty ethereal air.  The elephant is a cumbersome animal and looks awkward on roller skates. Yet with its raised trunk and happy looking smile it seems content enough.

“Storm Carnivale”, 2010 describes a time when tragedy strikes as the circus burns down and, the elephant is rescued by a young lady. She is dressed in a plain dress with a red jumper. Draped around her shoulders is a tattered shawl. Yet there is still a hint of a carnival lifestyle in her stripped socks. Her red shoes hint at Dorothy from the Wizard of Oz; wanting to be home.  She carries the elephant in a bird-cage and protects herself from the oncoming storm with a large umbrella. The circus is still and silent in the distance, its vibrant colours now silenced. A vicious storm looms above the pair as they venture forth. With a bright light from the heavens on her face the woman’s gaze is held to the sky and the great beyond. The surrealistic symbolism of a woman rescuing the elephant in a small cage takes on a new meaning when we discover that the woman is in fact Ross Morgan’s wife. The hand with which she holds the elephant bares a ring. She is taking her newly rescued pet to another land. They wish to escape and though surrounded by storms there is a light in the distance. She protects her new companion; sheltered with an umbrella they journey off to new horizons.

The woman happens upon a magician who is also an inventor. One of his fantastic inventions is a magical red box that imparts objects placed within it with wings.  This painting; “Baby Winged Elephant”; 2012, describes the moment when the rescued elephant emerges from the box, ready to fly off to adventures in another place. The red box is bold and vibrant. This work also utilises contrasting elements to impart interest with organic forms placed with geometric lines. Dark tones again give the object weight.
In this work the elephant is shown reborn, young and youthful after emerging from the red box, it seems to almost hatch like a butterfly from a cocoon. New wings open for the first time and it must learn the extent to which it can use them.

The magic of the box is applied to many other animals with different results. Such as this work which is titled “Volatilis Reptile Proprius”, 2012. Here we see a lizard transformed with the wings of a dragonfly. Presumably it might have also hatched from the red box. It is shown on a white surface as if it were a specimen in a museum collection of oddities.  The lizard is curled up and dried with a purple and blue shadow in the background highlighting its form on the white surface.

Ross Morgan’s work is interesting and whimsical and I am sure the story will continue. I cannot wait to see the next instalment. In the tradition of illustrative artists such as Sean Tan, Ross Morgan’s work tells a story; in many ways it can be viewed as autobiographical (as most art can be) and allows you, the viewer to escape into a pleasant world of imagery. Please take the time to visit him in his studio

Ross Morgan’s website