Lesley Smyth Hand-painted delights
I first ‘met’ the work of Lesley Smyth about 6 months ago on Instagram and was captivated by her colour and beautiful hand-painted objects. I got in touch to discover more.
Hi Lesley, thanks for taking part in my blog post. How did you first get interested in painting and art?
I don’t know! It’s just something I’ve always had in my life. I grew up in a noisy house (4 siblings) and I think drawing and doodling was my refuge from it all. There have been long periods when I didn’t paint or draw because life took over, but Ive always come back to it. Even when I wasn’t painting I’d still look for inspiration in my surroundings- storing up ideas for when I would. In recent years I’ve been painting more, and I feel like it’s a kind of therapy. There’s nothing I like better than a day of painting and listening to a good podcast or music, and blocking out the noise of the world.
What did you do prior to working as an artist?
At college I studied industrial ceramics and quickly learned I was only interested in the decoration part. For a couple of years after college I designed patterns for fabric and wallpaper. Although I loved this, I found it isolating and wanted to be out mixing with people. I started painting furniture and this led to learning decorative paint finishes and for many years I’ve been working in peoples homes painting murals, colour washing, stencilling etc.
Where did your love of folk art come from?
From an early age I’ve collected postcards from museums and ripped out pages from magazines. I’m drawn to simplicity and naïve art. As well as folk art I love embroidery, medieval art (my final show pieces at college were spice jars inspired by medieval paintings), mosaics and many painters with a naïve style.
Do your illustrations take inspiration from one style or country?
I get a lot of inspiration from travelling, visiting museums, just being in a different environment and experiencing a different culture. I look for pattern everywhere I go. Italy would be my go to country for inspiration – so many treasures to be found there. But there is inspiration to be found everywhere. Sometimes on a drive to work I’ll see something and make a mental note .
How do you formulate your colour palette?
I love colour, and I love to see how colours work together. It’s usually experimental. Sometimes it works, sometimes it doesn’t. I always find it interesting how a background colour can completely change the colour on top of it. I’ve recently been using an orange/red as a background and I’m loving the effect it has – it makes everything around it stand out.
I have my go to favourite colours – blues and greens usually soft greyish versions of these colours and then I add various colours. I have a Pinterest board called ‘colour combos’ that I sometimes look at if I need some inspiration or feel stuck. Maybe because I’ve been working in interiors for years that has helped too.
Currently I use a mix of gouache, chalk paint and good old emulsion (I have hundreds of sample pots because of the day job). I really love the flat quality of these paints. I usually wax afterwards, sometimes varnish for a nice soft protective finish
Are there any contemporary artists whose work inspires or influences you?
I’m not sure if you’d call them contemporary- but my favourite artists would be Winnifred Nicholson, Alfred Wallis and Mary Fedden. O my goodness I wish I could paint like they do!! I’m always drawn to paintings with sea, boats and buildings. They all have that simplistic style that I love – but it certainly isn’t easy to paint like that.
In today’s world of art I love Janine Burrows and Jane Askey. Again boats, buildings and sea. I also like some abstract artists – when they have a colour palette that appeals to me.
Where do you see your work going in the next few years?
I would like to develop my work and get it onto greetings cards, wrapping paper, fabric etc. I’d like to do a range for kids too. But in the meantime I think I need to keep practicing and to develop my style and portfolio.
What is your favourite subject matter to paint?
Well it’s definitely birds, flowers and animals. But I also love geometric patterns and I like to combine the two. Old buildings are also interesting to me. I’ve been doing a lot of farmhouse style buildings but I would like to try some different ones.
If you could place your work in any shop, website, museum right now, where would it be?
Well any would be good!!!! But my favourites would be Liberty, V&A, Anthropologie. Crickey how amazing would that be!!!
I loved looking through your work and reading your replies Lesley, thanks so much for taking part. You can purchase Lesley’s work on her Etsy shop here.
Jenny Williams. Children’s Book Illustrator
Jenny Williams was born in 1939, a talented illustrator whose style i’d say is instantly recognisable.
She was educated at the Wimbledon School of Art and University of London.
Jenny started drawing as a very young child, making up stories about the characters she created.
Her drawings have appeared in many different types of books, including cookery books, fairy tales and nursery rhymes, animal stories and folk tales, published throughout the world. I’ve no idea how many books Jenny has been involved with, but it must be quite a few. Here’s just a taster.
Some books have a real ‘hippy seventies’ vibe. I love her colour palettes, and the way she creates the feeling of warm sunny, summertime, fields. Like in this book ‘ A Lion In The Meadow’.
Slightly cooler tones in Uncle Bumble.
And saving the best til last with The Silver Wood.
Absolutely stunning work, I’m sure you’ll agree.
Manchester School of Art Degree show 2024
Yesterday I met up with my good friend Helen (from drawdrawdraw ) to look around this year’s degree show at MMU Manchester School of Art. Helen and I went to Polytechnic together in Nottingham, back in the day, where we studied Printed Textiles, which makes her the perfect companion to do art trips with.
I have put together a collection of the work that simply caught my eye for it’s merit, style, quality or innovation. Apologies to those whos work isn’t labelled, sadly if there wasn’t a name tag near to the artwork, I’m afraid it’s not labelled here, It’s such a big show to get around, that there is always so much to write up afterwards. We did view work from Product, Textiles, Illustration, Graphics and Fine Art departments, much more to see for another time.
Ella’s work above is inspired by tropical and British florals whil’st Aaron’s work below, concentrates on themes as social connectivity and pagan art.
Fun and punchy, mid century-vibe prints from Daisy’s travel inspiration.
Inspiring to see the technical work and time that has gone into Ellen’s work with natural dyes. It was lovely to see her test book laid out with her samples.
Some funky machine knits from Sophie. Great pattern and movement.
Striking work by Heather Burke with her strange and menacing ceramic and fabric figurines.
I wouldn’t care to meet any of these characters on a dark night, but I do think they’d make a great annimation.
Beautiful Type from Ciara Paterson and a stunning Poster by Anni Buchanan
I also loved this jacket by Jude Wakeley. Great colours and I liked the way the type face was faded in parts as it would be when wood block printed.
From a collaboration with paper mauufacturers G.F.Smith, here are some great record sleeves that have a ‘Manchester nod’ towards the work by New Order designer Peter Saville.
An airport themed board (or should that be bored) game ! by Hannah Quine.
Lovely hand made paper garments and studies from Claire Malley.
Great sketches and perspectives from character creator Ross Westgate.
Some weird and wonderful discoveries in the Fine Art department.
Hazel Stileman‘s comment on waste and loss.
Casual onlookers taking in the show.
Stunning art pieces by Alice Kettle.
This piece by Lisa Rosie obviously caught my eye, as I have a flight risk of my very own ! lol
Hope you enjoyed my show and tell and if you wish to visit MMU then it is open to the public from Saturday 15 June until Saturday 22 June.
Opening Times
Saturday/Sunday 10am–4pm
Monday–Friday 10am–6pm
More info here.
Chris Turnham Illustration
Photo by Dan Cole.
Chris Turnham lives and works in Los Angeles. He has worked in both feature and television animation and has contributed illustrations to publications and children’s books.
Of course his style appeals very much to my eye and love of the mid century life.
This could be fresh out of a book from 50+ years ago…. fabulous.
Interesting to see some floral and botanical studies too.
Illustrations of intrepid explorers….
and places Chris has also explored.
But my absolute favourites are his his beautiful architectural pieces… was this the bridge used in the film Grease, I wonder ?
Many of these illustrations are commissions.
Or just plain jaw-droppingly wonderful ! Lol
I love Chris’s use of the sun in these sleepy suburban dwellings.
He has even covered the Eames House, below. Stunning work Chris.
I just wanted to add a quick update to this post. Chris has been busy working on two wonderful books which are right up my street.
National Monuments and National Parks of the USA.
Just look at these mouthwateringly retro illustrations.
You can even grab a print from Chris’s website here
Lovely work Chris, with a nod to the classic Miroslav Šašek too, get your copies today.
Artist In Residence Nest
I have recently started an online teaching class with a lovely group of artists, through a site known as Artist In Residence . This week I wanted to look at the Nest.
I created some visuals to take loose inspiration from, stating my usual ‘What If’s ‘ i.e. what if the nest was square, a spiral, made out of something else, just to get people’s minds flowing with possibilities.
Also many slides with images of other artists interpretations of nests and images of birds, trees, ceramics I have made, associated with nests.
An old collage illustration of mine of a Hen on her nest.
Thinking about how nests are created. I found it fascinating to discover that brids build nests from instinct as they have never been shown how to do it by their parents !
This was my drawing from the class. A mix of mark making, printing, illustration using markers, pencils, brush pens, ink and collage.
I had a great time teaching yesterday and thanks to everyone who took part.
If you would like to find out more about joining an art class online and participating either live or watching classes in playback after the class has finished, then visit Artist In Residence . co and explore their options for joining. Hope to see you there.
Brian Wildsmith Exhibition, Barnsley. Part 2
Following on from post 1 for the Brian Wildsmith exhibition in Barnsley the other week, here is post 2.
The exhibition is spread over two spaces, The Cooper Gallery (covered in post 1) and Experience Barnsley beneath the impressive Town Hall. Each about a 5 minute walk from one another and both about a 10 minute walk from the main station Barnsley Interchange. The Experience Barnsley side of the exhibition, centres around Brian’s early life, his training, family and work.
Just one of his major award triumphs was winning the Kate Greenaway Medal for his book ‘ABC’ in 1962, (now called The CILIP Kate Greenaway Medal) it was the only award in the UK to solely reward outstanding illustration in a children’s book.
I don’t wish to rewrite all the wealth of information you can discover on Brian’s Website, as his family have created a masterpiece and it is worth spending some time discovering Brian’s story for yourself. You can also see an earlier post I wrote back in 2015 here.
How lovely to see this early drawing of Jack the Dog, from his days at the Slade School of Fine Art and subsequently some of Brian’s early Book jacket designs.
A few black and white, detailed illustrations.
Again, so special to be able to appreciate the family home and visualise where Brian would have sat to create many of his beautiful books.
Brian with his family, Simon, Rebecca, Anna, Brian and Clare. Also with his wife, Aurélie.
Through my website, I have been friends with Clare and Simon Wildsmith for the last 9 years. So this was the perfect opportunity to catch up with them in person and spend a little time talking about Brian’s work, parents generally and our lives today. They very kindly arranged for me to take a signed print of my all time fav illustration of Brians featuring these two Owls. Now I can be reminded of the Wildsmiths every day : ) Thank you again for a fab day’s catch up.
I can’t recommend this exhibition enough. It’s fab, it’s free and after two years of planning it’s finally here until January 4th 2025. Go see and tell me how much you loved it.
Further exciting news from Simon about a new site with Brian’s Cards, Prints, Tote Bags and other merchandise to be released soon. Watch this space. The final word should go to Brian himself…
“Our children are our inheritance and our future. They are the building blocks of our civilisations, and we are inclined sometimes to forget this important and crucial fact. It is important to remember that at birth a child’s soul is like an empty book in which anything may be written. Let us sharpen our wits and pencils and make sure that what we write and paint will fly the child into a world of joy and wonder and imagination. We must write in those books about love, humour, compassion, truth, understanding, justice… profitable wonders that will determine how our children will develop and help build a happier and more peaceful world.” Brian Wildsmith 2008
Brian Wildsmith Exhibition, Barnsley. Part 1
This week I took a day off, to catch the fabulous exhibition of Brian Wildsmith‘s work over in Barnsley.
It has taken years of planning and more organisation and form-filling than you would care to imagine, in order to get Brian’s original artwork from France to the UK and up to Barnsley, his original hometown.
The exhibition is spread over two spaces, The Cooper Gallery and Experience Barnsley beneath the impressive Town Hall. Each about a 5 minute walk from one another and both about a 10 minute walk from the main station Barnsley Interchange. It’s so easy, I’ve even made you a map !
The Cooper Gallery concentrates on Brian’s art and there’s a wonderful opportunity to get up close and personal with many of your favourite images.
I loved seeing the original proofs for many of his now famous book and then studying the materials he used and his particular painting style. Always a dream to see another artist’s illustrations right there in front of you. I was probably swooning about 5 times a minute walking round lol
One of my many personal favourites is ‘A Colony of Penguins’ from Brian’s “Birds” book from 1967. I love how the painted snowflakes add an icy chill to the illustration. It really helps to make the image feel realistic.
How beautiful is this colourful explosion of plants concealing a watchful Mr Fox.
One amazing collaboration to happen this year is the range of Brian’s artwork made into repeats by Liberty . Their description explains… Wildsmith’s Wonderful World is a retrospective collection of designs inspired by the late illustrator and picture book creator, Brian Wildsmith. By combining Wildsmith’s imaginative and visually exciting style of storytelling with the Liberty Fabrics Designers’ expertise, our studio team have reimagined his portfolio of charming illustrations. From magnificent jungle creatures and swooping flocks of birds to playful London cityscapes and otherworldly outer-space illustrations, we invite you to experience the expansive magic of Wildsmith’s Wonderful World.
The whole exhibtion is free to enter and it’s on until 4th Jan 2025. Experience Barnsely is open, Tues to Sat, 10am til 4pm and the Cooper Gallery, Mon to Sat, 10am til 4pm. Both Cafes are smart, I had lunch in The Old George Cafe, it was very reasonably priced with lovely food.
Hope you enjoyed part 1 of this Wildsmith journey with me. Part two of my trip, exploring the personal side of Brian’s life in the Experience Barnsley exhibition, will be posted in a day or two. See you then : )
Artist in Residence Owls
I have just started an online teaching class with a lovely group of artists, through a site known as Artist In Residence .
My first solo class this week was all about drawing Owls. I included some fun facts about these wonderful birds, such as an Owl can turn it’s head 270 degrees, many have asymmetrical ears located at different heights on it’s head which help it pinpoint exactly where it’s prey maybe and that the eyes of an Owl aren’t actually eyeballs at all, they are in fact tubes and completely immobile. Who knew ?
We looked at examples of real Owls and also how different artists used this subject matter in their own work. Here’s illustrations from collage artist Mark Hearld and Children’s illustrator Brian Wildsmith.
Some of my pencil illustrations above and Illustrator Celestino Piatti shows us some of his fabulous midcentury Owls.
Russell George Wilson reveals his textile talents with this beautiful Tawny Owl.
I showed some of my Ceramic Owls, I had more designs than I thought !
Then moved onto some drawing and collage work using the Owl as the starting point and not necessarily worrying about how lifelike it needed to be.
My mind started thinking… what if it was made up of letters, what if it was square and these guys soon appeared lol
After some initial nerves, I really enjoyed the experience and hopefully the folk in the class did too. If you would like to join up you can find more information here, there are plenty of new classes to join in, watch in your own time and places on the site where you can chat and discuss ideas with other artists around the globe.
Earlier this year I was kindly invited by Rekha Salin on instagram @illustrate_daily to be interviewed for The Society Of Children’s Book Writers & Illustrator’s blog. Rekha has followed my blog for a while and liked both my ceramic work (which is driven by my love of retro books, design etc) and also Fishinkblog itself.
The feature was published this week and you can find it here.
Please dip in and discover more about how my quirky mind works lol. INSPIRATIONS FROM CRAIG’S BOOKSHELF
Thanks again Rekha for asking me, I often need to be dragged into talking about myself !
Lisa Larson World Exclusive Interview for Fishinkblog
Hello Everyone, it is with a very heavy heart that I heard of the passing of my icon and muse Lisa Larson yesterday. She worked up until her death at the age of 92 and inspired and gave joy to myself and so many other millions of folk worldwide with her quirky ceramic characters. I was very fortunate to get to ask Lisa some questions in 2017, so decided to repost this in her memory.
Welcome to all of my visitors and whether you are a regular reader or a new visitor, I have a very exclusive treat for you today as I have managed to secure an interview with the wonderfully talented, Swedish Ceramist, Lisa Larson! I can hardly believe it happened myself and I’m still rather smiley as a result lol
Through a chance email, I received a reply from Lisa’s daughter Johanna. She just happened to be visiting her mum that week and very kindly offered to ask Lisa the questions I had mentally prepared (never thinking for a moment that I would actually get to ask them). The following post is a culmination of a few months work, ordering books and magazines and then the wonderful surprise of the interview itself… enjoy!
My first question went to Lisa’s daughter Johanna.
What was it like growing up with Lisa’s creativity around you.. I see that you have a graphics background yourself, do you think your mum’s encouragement has given you a love of the arts too ?
I grew up in a very creative home with two big artist studios connected to the house, and I also went along to the factory sometimes. I basically spent most of my time in a studio since I was a baby. I played with ceramic tools, or clay, or in the sandpit they used for casting. I was encouraged to draw and paint and knit and sew, my mum taught me how to throw clay. I went to art school but ended up specialising in Graphic Design and Illustration.
Here’s a fab selfie shot (below) of Lisa and Johanna.
Now my questions are directed to Lisa….
What are your first memories of art and drawing… were your parents creative and did they encourage your own creativity when you were younger ?
My father collected art and antiques and was a creative person. (My mother had died when I was two.) He encouraged me. He owned a sawmill and I could use the waste bits of wood to carve figures. I used to bicycle around and paint the farms around the area too, and sometimes sell the paintings to the owners, as was popular in rural Sweden. My father once gave me a load of blue clay and I made a life size portrait of the boy next door in our garden! Another neighbour (perhaps the boy’s father?) was an art teacher and was the person that advised me to apply to the art college in Gothenburg.
Was it unusual for a woman to be a designer in Sweden, some fifty years ago ?
My sister and I both wanted to be fashion designers and made all our own clothes. She did succeed (Titti Wrange, Annamodeller)…
and I ended up being placed in the ceramics department in art school, and loved the material from day one.
I saw a great video of a gentleman on the potter’s wheel and you reforming one of the pots he had thrown into a female figure, and later into a family pot etc. Growing up (and perhaps today) who helped in your own creative journey and who’s work do you admire who may or may not have been an influence on your work ?
The ceramicist and thrower in the video is Richard Manz who was my assistant at Gustavsberg. He was a very skilled technician. Else-Kulle Petersson and Kurt Ekholm were my teachers at Slöjdskolan in Gothenburg. I was also influenced by my husband Gunnar Larson and his artist classmates, teachers and colleagues. Stig Lindberg was my mentor at Gustavsberg. He had hired me and became a very good friend and colleague. (more about Stig here.)
What was it like working alongside Stig, (another hero of mine) and was it his free thinking style and humourous work, that allowed and perhaps encouraged your own style to develop and be appreciated ?
Yes, Stig had a lot of humour and we were all influenced by each other at the factory. He was very encouraging to us new students. We were free to experiment and he would visit the studio every week and discuss our work, and sometimes pick something for production, like the cat he thought was suitable. He asked me for more animals in the same style to make up a series. It became my first, Lilla Zoo.
I was frustrated for you when I read the story about you not getting paid very much for the work that you did that helped make Gustavsberg so famous. Was your transition to a freelance artist part influenced by that frustration yourself and are there any regrets about ever going it alone ?
No regrets. I had worked there for 26 years. Stig was gone, it was different times. Time to move on.
How did the collaboration with the Japanese company come about ?
I was originally contacted by a photo publishing company that wanted to do a photo project, and then they decided to produce some Lisa Larson merchandise instead (my photos probably weren’t that great!) and really wanted to launch the brand in Japan. My daughter was also enthusiastic about it and wanted to manage the brand internationally, and take care of all the new communications and new 2-D design tasks.
Below are part of the new Zodiac series due out in 2018, planned future orders are already sold out!
Being trained as a textile designer, I think your scope for design onto fabrics has a universal appeal, I know that the Japanese company you work with has made tee shirts and tee towels in their ranges, but have you ever thought about creating furnishing and fashion fabrics for children as part of your product range. I would love to put drawings into repeat for you if it would be helpful : )
Thank you but that is my daughter’s job! She has been inspired by my ceramic sketches and turned them into textiles, and she constructs the illustrations and the patterns for Uniqlo and other licenced clients. We have already worked with Ljungbergs Textiles and Boras Cotton in Sweden, and recently with Aswan curtains and rugs in Japan.
You can find more of the Japanese range of ceramics and kitchenware here.
Here’s one of the beautiful Japanese publications I discovered by Pie Books , great photographs.
Look at this cheeky chap awaiting some soup lol
Can you tell me a little more behind the story as to how your cat design came to be used by Baldelli and made into a moneybox ? I assume it was done with your permission ?
Not at all! It is total plagiarism! I first saw it in a shop window in San Francisco in 1966. When I asked what it was, I was told it came from a Danish importer. The shop owner said: “But, we do have a genuine Lisa Larson too”, and showed me into a back room!
Shocking to hear that blatent copying of designers work was happening mid sixties too. Some have the cheek to say it’s a compliment, but I disagree and if a company wants to compliment you on your skills and creative design, they should at least pay a royalty for using it !! Shame on you Baldelli and Bitossi.
I am delighted and also encouraged to hear that you are still designing and making now in your eighties (she is now 91 in 2022)… as an artist myself, I can’t imagine a time when I wouldn’t be still drawing and making new work. Do you have a list (perhaps even just in your head) of new pieces that you want to make and release to the world, as it were ?
Yes, my list is endless!
During my searching about Lisa’s work, I came across this fantastic company Scandinavian Retro who produce ‘Retro Klassiker’ magazine. Sadly it’s not available in the UK, but the very generous Editor in Chief sent me a complimentary copy and it is amazing….
132 pages just about Lisa Larson with photos of the majority of her ceramic work, what a delight. I just feel now that I need to learn Swedish or find a local Swedish friend to read all the text for me lol
The publication is excellent, concentrating on all the retro designs in textiles, fashion, ceramics, furniture etc from the mid century era. Sooo perfect for me.
I’ve read that the bulldog may be your most favourite piece that you have designed. Is that still the case and are there any designs that given the time you would perhaps do differently or work up again ?
I always try to make new and better things. I am never happy with my own work, until possibly much later on. Like when I said that the Bulldog was my favourite, was some 40 years after I made it!
Like you, I have a very quirky style of my own and often draw images of dogs and cats etc for use on fabrics and other textile surfaces. Do you think that your strong sense of humour has played a part in the style of ceramics that you produce ? Was that quirky style unusual in Sweden in the time that you were first making designs ?
Humour is important. We had a dog poster in the children’s room and I decided to interpret the funniest breeds.
I have always had my own style. I do not study other people’s style. (Other people copy me.)
I lastly want to say a vote of thanks for the joy that your work has given me. I’ve a family of three lions who sit in front of me on my desk that really make me smile daily, and for that alone, your work is truly priceless to me.
Thank you for your kind words
I want to say a huge THANK YOU to Lisa for answering my questions with such great consideration and honesty. Also to Johanna, without whom this interview wouldn’t have happened and for her lovely pictures. Lastly to Viveca Carlsson for generously sending me a copy of the wonderful Retro Klassiker.
I’ve a feeling there’s room for more of Lisa’s ceramics to come : ) Watch this space. Please share this post with your friends, leave a comment and sign up for regular Fishinkblog posts too. I hope you’ve enjoyed this interview as much as I have in making it.
Lisa Larson (9th September 1931 – 11th March 2024) R.I.P.
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