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SUMMER IN THE GARDEN 09

It has been a wonderful summer here in the south west of France. The holiday season is still in full swing, the markets full of life and colour, days are long and hot and festival time is everywhere. Everything and everybody is outside. But already the evenings are just a little cooler and there is a freshness to the morning air that suggests the onset of mellow mists that will creep up the valley to bathe the trees in tiny droplets of water and slowly change their colour. In two weeks the children will be going back to school, the streets will be deserted and not long after we will be moving on to Ireland for a different sort of festival and a different sort of mist. I thought therefore this might be the time to share some of the images painted during these last few weeks.
Some friends asked us to look after their garden while they were away so I made good use of it, not to sunbathe or swim in a pool but to splash as much oil on canvas and watercolour on paper as I could. I have always enjoyed painting gardens so will start my summer views with some of these.

Paintings by Tomas King. Top: The Wheelbarrow, Oil on Canvas.
Middle: The Kitchen Garden, Oil oil Canvas.
Bottom Left: The Summer Cabin, Oil on Canvas.
Published by Tom King 16th 08 09

VIDE GRENIERS

I have become addicted to vide greniers (attic sales). They are a great source of props for paintings and take place in the certre of villages and towns around this region of south west France instead of out in a field which is better as there is always something interesting to see. The onion pot and red teapot above were purchased for less than five euros and within a few days placed on the kitchen table where the watercolour above was painted.
Above: The Onion Pot by Tomas King 22.5 x 30cm.
Post published by Tom King 16 August 09

THE STATE DESIGN FESTIVAL, Melbourne, Australia, by Lucy King

Melbourne is a fantastic city, and one which embraces and supports all forms of art and design. I am very lucky to live in a city where art and design is appreciated in its very broadest form, and actively encourages the design community, residents and visitors to participate in an array of design events to ensure that design is a part of every-day life for Melbournians.
I want to share my experiences of living in Melbourne with its thriving design community, and thought I would start with ‘The State of Design Festival’ which is has just taken place. This festival runs each year in Melbourne bringing together a diverse program of local and international design events, exhibitions, workshops and speaker programs during its two-week duration. There is a huge amount of events taking place in-and-around the city covering such broad design topics as graffiti, film, multi-media, textiles, sound-art, fashion, freeway architecture, typography, interiors, paper-planes, printmaking, architectural bus tours, graphic design in the city, fashion and so on…. Then there are the international speakers, discussion forums, trade fairs and workshops – phew! All of this is aimed at both industry and the public, with many events being free to attend making it very accessible and inclusive. The festival has a strong link towards consideration of sustainable design whilst also engaging people to think about how design interacts on a social, environmental and economic level and can help towards creating better products and environments for everyone for the future.
The first event I visited as part of the State of Design Festival was Design: Made: Trade. This boutique design fair is geared towards small or up-and-coming design businesses to showcase their products to manufacturers, retailers and the public. The fair took place in the beautiful Exhibition Buildings (built for the 1880 Melbourne International Exhibition, the building also famously hosted the opening of the first Australian Federal Parliament) which offered a very informal setting to view the designs and products on show, along with being able to chat to the designers about their work. The fair encompassed a fantastic selection of innovative furniture, lighting, jewellery, stationery, paper-products and textile design - which offered thoroughly inspiring viewing!
I will write more about the State of Design Festival events that I attend, along with other Melbourne Design events over the next few weeks - as there is plenty going on in this fabulous cultural city! In the meantime you can click on these links to visit the State of Design Festival website to see the full line-up of events, and the link for the Design: Made: Trade website.


Photographs: Top, Design: Made: Trade by Festival Photographer
Tobias Titz: www.tobiastitz.de/
Image taken from The Design Files: www.thedesignfiles.net/
Middle Right, The Exhibition Building, location of, Design: Made: Trade. Bottom Left, Melbourne's city skyline viewed from St Kilda beach.
State of Design festival: http://www.stateofdesign.com.au/
Design: Made: Trade:
http://www.stateofdesign.com.au/trade-fairs

Post published 8th August 09 by Lucy King

CLARICE CLIFF

I first became aware of Clarice Cliff through a television programme many years ago called ‘The Pottery Ladies’. I have always loved the designs of the 1930’s and wanted to know more, so it wasn’t long before I began a small collection of her work and at one time owned thirteen pieces. My design company had been involved with Wedgwood for a number of years and it was during this period that they acquired the company Midwinter, who owned the rights to the Clarice Cliff Designs - Midwinter had bought them from Wilkinson’s, who were the original producers of her work. I was delighted at the time to be asked by Wedgwood to design the promotional material and packaging for a new edition of her products, and during the process of this project a number of items from this edition were delivered to my studio.

I have no idea what prompted it, but one day the Blue W Jug was sitting at the end of my desk and I reached out my hand for a small piece of paper and scribbled a design containing the jug. It was not in my usual style and it was almost as though someone else’s hand had made the sketch, but these things happen sometimes. The drawing was only 10 x 11cm. and was made with a fibre-tipped pen, gouache and magic marker. I put it to one side and during the next few years developed the concept, increased the size considerably, and gave it the title ‘Homage to Clarice’. It is now fourteen years since I first reached out my hand to scribble on that small piece of paper, and the image has just been produced as a series of limited edition of GiclĂ©e Prints.

For further information regarding Tom's Giclee Print, Homage to Clarice, including dimensions, edition size and price follow the link to Studio Tomas King Shop.

Top: Homage to Clarice by Tomas King. Bottom Left: Packaging designed for Wedgwood. Post published by Tom King 1st August 09