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Translated articles · Eme n 2 · 2014 102 Martin Salisbury · pp. 100-103. ISSN 2253-6337 Raquel Pelta Resano · pp. 103-110. ISSN 2253-6337 103 Translated articles · Eme n 2 · 2014 as objects in mind, to that end we do everything tion exhibition in London, in 2003 she set up her Cambridge School of Art, I see an increasing number Gilmour, Pat: Artists at Curwen, London, Tate in our power to ensure that they look good, smell company ‘Donna Wilson’, creating designs for of Masters students applying their work to a range of Gallery, 1977. good and most of all tell great stories!” cushion covers, blankets, soft toys etc. In 2010 she design contexts beyond the book. I am showing a few Salisbury, Martin: Artists at the Fry, Cambridge, As well as independent publishers such as No- was named Designer of the Year by the magazine, examples here. In the early stages of this course, stu- Ruskin Press/Fry Art Gallery and Museum, 2003. brow, small ‘private press’ printer- publishers still Elle Decoration. The studio now employs a team dents devote their time to self-proposed thematic ob- Bacon, CAROLINE AND MCGregor, James: seem to be thriving. But one of the most noticeable of workers making enough of Donna’s designs to servational drawing projects. Even at this early stage Edward Bawden, Bedford, Cecil Higgins Art gal- examples of a return to aspects of the mid-Twen- meet the demand from major high street stores of making acquaintance with their individual meth- lery, 2008. tieth ethos is the branching out of illustrators into such as John Lewis. Of course it remains to be seen ods and preoccupations, it is often easy to spot those Style, Bowie: Print and Pattern Kids, London, the worlds of textile and ceramic design to meet whether fast growing small businesses such as Wil- who have a natural tendency to seek out the pattern Laurence King Publishing, 2013. the burgeoning demand for pattern. A particularly son’s will or can become as huge as design brand and texture in their chosen subjects. An outstanding http://chrishaughton.com/node/. good example of the revivalist mood can be found in phenomena such as Cath Kidston and Orla Kiely. artist whose work I would classify in this way is Laura the phenomenal success of the company, St Judes. An interesting recent project that compares to the Carlin. Carlin graduated from the Royal College of Originally founded by artist Angie Lewin and her above venture on a smaller scale is Chris Haughton’s Art in 2002 and as well as her excellent book illustra- husband Simon, the venture existed for some years Node. Many will be familiar with Haughton’s bril- tion work she creates various craft-based artifacts in as a small gallery in the little Norfolk market town liantly ‘simple’ picturebooks published by Walker ceramics and other media. Her most recent picture- of Aylesham. As well as exhibiting prints and paint- Books such as A Bit Lost and Oh No George! Haugh- book, The Promise (text by Nicola Davies, published "Beautiful all ings by Angie herself, the gallery showed work by ton has also worked for a number of years with the by Walker Books, 2013), explores the patterns and a range of British illustrators and printmakers who Fair Trade organization. Having travelled widely in rhythms of urban living, contrasted with the rhythms year round". could be seen to be in the Twentieth Century Mod- India and Nepal Haughton set up Node with Aksh- of the natural world. Her work, which is deeply rooted The regenerationist image of spain ern tradition but who are also highly contemporary ay Sthapit, a Kathmandu based entrepreneur ‘with a in the British tradition of drawing from observation, in their interpretation of these traditions. The art- passion for social projects’. The two set up Node to invariably leads us into the interesting area of border- in the posters of the patronato ists represented include Jonny Hannah, Rob Ryan, ‘combine great design with great fair trade projects’. land between representation and pattern. The book’s nacional de turismo Mark Hearld and Ed Klutz. Angie Lewin’s own work Theirs is a non-profit venture that is designed to endpapers, traditionally a home for pattern papers, can be seen to build on many of the preoccupations bring work to a deprived region of Nepal. Working perfectly illustrate this, taking the pattern of the man- and motifs that underpinned the work of Edward with Kumbeshwar Technical School in Kathmandu, made and urban at the start of the book and the pat- Raquel Pelta Resano Bawden well over half a century ago, with particu- the two commissioned 18 leading illustrator/ de- terns of the organic/ natural at the end. Using pattern lar interest in the patterns that flow from the flora signers (including Donna Wilson) to create designs in this semi-narrative way on the periphery of the pic- Universitat de Barcelona. and fauna of the British countryside. St Judes now for rugs that would be hand-produced by the work- turebook is what the children’s literature academics Department of Design and Image. operates from Edinburgh, selling mainly online but ers in Kathmandu and sold at the Design Museum refer to as ‘peritext’. regularly organizing exhibitions at a variety of ven- Shop in London. The outcome of this ethically led The various works of students that can be seen ues under the title St Judes in the City. project is a series of stunning hand-made rugs fea- here give some insight into the ways that pattern is Throughout the twentieth century, tourist post- Design historician and profes- Given the pattern-led nature of Angie Lewin’s de- turing designs by artists such as Beatrice Alemagna, used to decorate, to describe and to tell stories. As ers have played a key role in the transmission sor at the Faculty of Fine Arts Jon Klassen, Chamo, Kevin Waldron and Haughton signs, it was a natural development for the company a teacher, I am fascinated by the different ‘ways in’ of Spain’s image abroad. This article focuses on of the Universitat de Barcelona. to branch out into fabric and wallpaper design: himself. It is to be hoped that projects such as this that each student will find when dealing with draw- one of the periods in which they had a greater She has a PhD by the mentioned “We started with the simple aim of producing will lead the way as an example of the potential of ing from observation and using this to underpin role: the end of the reign of Alfonso XIII, with the university, BA in History and two of Angie’s designs and taking it from there. illustration, so often seen as a trivial embellishment, developing approaches to narrative illustration. founding of the Patronato Nacional de Turismo. geography and BA in Audiovi- Since then St Jude’s has become a small but thriv- in the field of social change. Many of our students now come from the Far East- This historical time was an attempt to spread the sual Communication Sciencies. ing business. We were delighted to be named win- The current mania for all things ‘retro’ shows no especially China, Taiwan, Japan and South Korea. rich diversity of Spain, in an effort to dismantle She is a member of the board of ners in the Elle Decoration British Design Awards sign of abating. This can be seen in all areas of de- Here, graphic traditions have a particular emphasis stereotypes that travellers of the eighteenth and the Design History Foundation, in both 2011 and 2012.” sign but is perhaps most evident in home furnish- on surface pattern and design rather than Western and is currently the director of Further outlining the ethos of and influences ing and illustration. Sometimes this is manifested nineteenth centuries had created. modes of representational painting. the online publication Monogra- behind the venture, the company goes on to state: simply in subtle visual references but frequently Spanish poster, tourist poster, tourist adver- As more and more students from an increas- fica. She has written many arti- “We take an interest in fine art and commercial it can also be seen in the wholesale reuse and re- tisement, Patronato Nacional de Turismo, image ing number of cultures join the course (at the last cles for books and magazines, design, but we are particularly inspired by work pro- cycling of artworks from the 1940s and 50s. It is of Spain count, we had students from 29 countries), and they along with the book Diseñar hoy duced in the middle ground between the two. We also evident in the publishing and republishing of continue to fuse their own cultural influences with (Designing today). love Edward Bawden’s graphic design and illustra- works by hitherto forgotten greats such as Alain The origins of the modern concept of tourism in a knowledge of British graphic traditions, it will be tion work for London Transport, for example. And Grée, whose works have become suddenly ubiq- Spain are linked to what was known as Regenera- interesting to see how the continuing cross-fertili- 1 Eric Ravilious’ ceramics for Wedgwood. It appears uitous again, late in his career, appreciated now tionism. As Ana Moreno Garrido has highlighted, zation impacts on the British children’s publishing that some wonderful and unexpected things can in a rather more postmodern sense than in their its first ideologists and advocates where middle industry. The process has already begun. happen when a talented individual meets a visually original, seemingly uncomplicated and charming class men, preocupied by the economic, moral re- aware organisation.

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