For this week's In The Studio we're in sunny Gloucestershire to have a gander at Marcus Walters' multi layered prints.
Working alongside his partner Hayley, Marcus has produced a new collection of limited edition cushions for Heal's, each of which has been designed and hand screen printed on site. As well as having a nosey around the studio we sat down with the multi-talented artist, illustrator and designer to find out more about his colourful collages.
Tell us about the first piece you ever designed?
I started out creating collage artwork before I got into print, so my first ‘real’ piece is a simple collage made from different patterned paper that I found around the studio many years ago. I still have it framed in my house as a reminder of where it all started.
Where did you study?
I studied Graphic Design at Central St Martins. My subject choice was informed by a desire to work across a broad range of projects and subjects, however, my approach has always been visually led often applying my designs to products.
What is the inspiration behind your work?
I am lucky that my surrounding landscape is beautiful and always changing so I find it reflects heavily in my artwork. I guess the narrative in my work could be seen as quite simple and traditional although I think I approach it in a different way.
There are also so many artists and designers I consider heroes, from the greats such as Picasso, Matisse and Warhol to other perhaps less well-known figures such as Sister Corita.
I have also aspired to design polymaths such as Saul Bass, Bruno Munari and Eames of course! Having two young children also helps remind me not to be too precious about art - it’s about the freedom of doing it, going on a journey and not trying to get to a perceived end point.
Tell us about your design process, how do you get started?
I love collage - for me it’s a way of connecting art and design. My process starts with drawing as a way of developing the overall concept. From there I cut out the individual elements for the composition. I love the tactile nature of cutting and the resulting imperfections - quite often I will use off cuts or bits left behind in my artwork, or save them for other pieces.
I work collaboratively with my wife Hayley who hand prints my work. The screen printing process adds an extra dimension to the artwork especially when overprinting different layers on top of each other. When I hand my artwork to Hayley for printing she will also add her own interpretation of my palette, so I can’t claim to take complete authorship.
Where is your studio based?
My studio is in an old cloth mill near Stroud in Gloucestershire. I share the space with my partner Hayley who has her textile print works in the adjoining studio, which is very convenient! We often work together on print projects and recently collaborated on our own range of tableware.
Although we often work together as artist and printer this was the first time we actually designed a collection together.
How would you describe your new collection?
My range could be considered as different components of one big landscape. My textile designs feature elements such as a sun, plants and birds that can work both together and as individual pieces. When I work on a series on a collection I imagine how it would look in situ - whether on a sofa, wall or bed.
Further Reading:
www.marcuswalters.com
Shop Marcus Walters
Back to top
[ INSPIRATION ]
Behind the design
We wanted to give an insight into how the beautifully made pieces you see in our stores and around the world, are designed and created. We want to get an understanding of how a design company comes about. What are the best ways to succeed? What are the key ingredients? Who's great to work with, and how the industry has changed over time. We're kicking off this insight with a question and answer session from Tim Cox, owner of Coakley and Cox who manufacture such classics as the Balzac Armchair and the Oscar Sofa, both designed by Matthew Hilton.
Tim Cox – Coakley and Cox Ltd. How did you get into the furniture industry?
I studied at Buckinghamshire College, High Wycombe after a recommendation from my wood work teacher. Their degree course in Furniture Production & Management was the only one offered in the UK. In 1995 upon graduation, I was fortunate to join SCP. Years later when the owners of the small workshop that made SCP upholstery retired, Sheridan and I took the opportunity to acquire the business. Building on the original workforce of 4 people, Coakley & Cox now have a team of 15.
How does the design process work – is it a collaborative process in that you help the designer refine their piece? Any examples?
Our customers come to us with designs they would like to produce, we then design the internal structure and material content and make full size mock-up’s of the piece which is then reviewed and refined for both comfort and design at the factory. The designers spend a day or more making adjustments to create a piece they are happy to sign off on and show a production sample usually at a fair or other launch.
You’ve been in business for over 30 years now, what have been the major innovations / changes in furniture making?
While technology has made improvements to production processes with regards to technical drawings models renders which has enabled us to produce more accurate samples quicker resulting in in some cases less development costs. The biggest change for us in recent years is to revert back to using traditional materials instead of petrochemical based foams, such as Jute Webbing, natural rubber, recycled wool etc. The Upholstery process remains largely unchanged and reliant of the skill of the craftspeople in our factory. We pride ourselves on making all our pieces traditionally by hand from frame assembly to upholstery.
What have been your favourite projects to work on?
There have been many with SCP, James Uk, Pinch, The Future Perfect, Linley but Last year working with SCP producing the 6 sofas for Sofa in sight and SCP’s 30th anniversary gave us a phenomenal challenge to develop the 6 pieces all to launch in September 2015 with exceptional designers Michael Anastassiades, Konstantin Grcic, Faudet-Harrison, Matthew Hilton, Lucy Kurrein and Terence Woodgate
http://www.scp.co.uk/collections/sofa-in-sight
Have you got any exciting projects or surprises lined up for the coming year that you can share with us?
We are just about to start working on a new modular sofa system for SCP being designed by Matthew Hilton which will be launched next year.
What advice would you give to any aspiring designers out there looking to get a piece made?
Gain practical experience through time in workshops. Try and learn the processes of production for the product/s you are designing so you know the possibilities and pitfalls of the production process.
For the second in our catch-ups with this year’s Heal’s Discovers winners, we speak to furniture designer and craftsman Alexander White to discuss the process behind his functional My Ami range of folding furniture.
How would you describe your style of design?
This is a question I find hard to answer. I guess my designs are materialisations of an idea, explorations in form and function. As my ideas are pragmatically developed with a heartfelt approach, the craft and my understanding of it are essential parts of the design process.
What was the catalyst for your career in design?
What motivated me was the holistic and multidisciplinary aspect of the job. A designer is an artist, an engineer, a researcher, a maker, a draftsman. Ever since I can remember I have been crafting with wood, but it wasn’t until I reached further education that I realised my true passion.
How would you describe a typical working day?
I think I’m not the only designer who’d say that my working day doesn’t have a start or an end. Fortunately I live five minutes away from my studio in Clapton, Hackney where six of us share a wonderful space in an old industrial warehouse. I tend to start the day in the office with a cup of coffee before I head downstairs to get more hands-on.
This might be in the form of model making, refining prototypes or making bespoke items for private clients. The great thing about sharing the space is that we bounce ideas around and, of course, collective lunches are a must as are regular cups of tea.
“My designs are materialisations of an idea, explorations in form and function.”
What was the inspiration for your first collection for Heal’s?
My second major job in London was furnishing an entire flat in Holland Park. At this point I realised that whatever your background or wealth, space is a major issue. I wanted to create a commercial product and challenged myself to design something that required problem solving yet was elegant, functional and commercially viable.
Describe the design process for this collection
I spent around six months on this project, in between working on my bespoke work. Often it starts with sketching, in this case, with simple geometry on paper. From these sketches, ideas immerge, ideas that are then refined by further sketching.
A rough scaled model soon follows to better understand the three-dimensional challenges of the folding mechanism. In total, I think there were five full prototypes and just as many full scale prototypes of joint detailing and hinging methods. Each one getting simpler than the previous, in aesthetics and manufacturing.
What would you say are the standout features of your collection that set it apart from other designs out there?
The stand out features are its folding mechanism and the staining process. The former is the basis of the whole range I developed, the latter is an exploration into chemical free wood colouring processes on a large scale. Both are simple, clever, elegant and innovative.
How important do think projects such as Heal’s Discovers are to showcasing new talent?
It is a fantastic gateway into the industry of manufactured goods of high quality and esteem. For my first commercial piece to be taken on by such an institution was very exciting, to say the least. I couldn’t quite believe it, didn’t want to believe it in case it didn’t, for whatever reason, happen.
Discover My Ami
Back to top
Today marks what would have been the 111th birthday of one of Japan’s most celebrated designers, Isamu Noguchi.
Working across multiple fields including sculpture, painting, industrial and landscape design, many of his designs remain mainstays of modern interiors thanks to their timeless mix of Japanese minimalism and Mid-century form.
Despite being first developed in 1939, we find that the Noguchi table, arguably his most iconic piece, provides the perfect sculptural design to finish your living room. Pair alongside the warm glow of an Akari paper lamp to add stylish, zen to your space.
All that’s left to say is a big tanjoubi omedetou (that’s happy birthday to you and me) to Isamu from everyone at Heal’s!
Portrait photo courtesy of Isamu Noguchi Museum.
Now in its eleventh year, Heal’s Discovers provides a unique showcase to exciting, emerging design talent. This year’s bumper crop is no exception with a host of unique designs to suit every aspect of the home.
While visitors to Heal’s will have seen the designs on display, we thought it would be a good idea to get to know the creatives behind each entry. For the first in our series of catch-ups, we sat down with the man behind the Span furniture range, Jonathan Lane Smith, to talk about his exclusive collection for Heal’s Discovers as well as his journey from sculptor to designer.
How would you describe your style of design?
My approach is different for each project, but I tend to combine simple geometry with pared back forms all the while responding to the nature of the material being used.
What was the catalyst for your career in design?
I originally started out training in sculpture but changed to product and furniture design as it was a better fit for me. The main thing that drove me to move into furniture was working for a family in West Australia, I was making vast tables from wood used to support the mines and I just loved the process.
How would you describe a typical working day?
I work in a studio in Holloway, North London so my day usually starts there. Every day is different, but mainly consists of talking to suppliers and clients, doing drawings, developing new work with prototyping and models, making sure orders are running smoothly, trying to get new orders and of course admin!
What was the inspiration for your first collection for Heal’s?
The Span originates from a private commission, which was based on a frame from a regency period double pedestal table. From there the design evolved and has been adapted further to suit modern production methods and functionality. This latest design reinterprets the traditional look of a regency table into a light, angular form.
The oak and walnut versions have a natural, classic feel to them. A scorched ash version was also selected to offer something that would stand out more. The glass top versions were used to really make a feature out of the table frame.
How important do think projects such as Heal’s Discovers are to showcasing new talent?
Very. Any opportunities like Heals Discovers are a really great way of getting work out there, so it’s great to see so many designers using it as a springboard to a career in the creative industries.
Jonathan's modern furniture range is available in store at Tottenham Court Road or online.
Working from her studio in Dalston, East London, Jo Davies produces stunning ceramics with an opulent tinge. One of the latest designers to contribute to our ever expanding roster of Heal’s Collectables, we got in touch with Jo to discuss her handmade approach to design.
Tell us about your design process, how do you get started?
There are a few different starting points, but usually I begin with the simple concept of fulfilling a particular function. Following this, the process of working with clay has a major influence on the forms that will be made.
By playing with scale I am able to change the perception of the function. My process is different to many designers because I physically make each stage of my thought process, basically forgoing paper and pencil for clay and my wheel.
I would argue that my way is just as quick if not a little more effective as a visualisation tool because I can see the object in the round. I may keep the ‘sketches’ I have made, taking them through to fired ceramic or I may simply recycle the clay and use it again on another day.
Do you have a design hero that influences your work?
No one person is my design hero, I have many people I respect within the design and craft community, but I do tend to go through phases of hero-worship.
How did you get involved with Heal’s?
Initially through an exhibition during London Design Festival in 2014 when I was approached by Heal’s, I then ended up showing some pieces in the Modern Craft Market earlier this year.
What would you dream brief be?
To create an installation of vessels, large and small, for an incredible space like the National Trust’s Ham House in South West London or even a gallery setting like the Mashiko Museum of Ceramic Art in Japan.
The simplicity of my work and, to be specific, its monochromatic qualities make it easy to incorporate within many spaces, particularly against a backdrop like Ham House. Jo’s exclusive range of designs for Heal’s Collectables can be found on display within the homewares department of our Tottenham Court Road store.
Jo will also be hosting an exclusive workshop in December where you can make your very on porcelain tealight.
HEAL'S DISCOVERS
HEAL'S DISCOVERS
Ed Heritage
As part of this season’s Heal’s Discovers initiative, we’re delighted to introduce Ed Heritage, an award-winning UK-based designer whose signature style of clean geometry and playful details is reflected in the beautiful lamp he created.
Discover more
-
Trends & Lifestyle
-
At Heal's
-
Tips & Advice
