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She’s only just graduated from AUT’s masters programme in illustration, but Nadeesha Godamunne has been questioning the boundaries of her discipline for some time. She first came to public attention last year after winning the Style Pasifika Supreme Award with a collection of three simple slip dresses that used a mixture of technology and handcraft to create a trompe l’oeil effect, fooling the eye into seeing a series of layered garments.

In 2009 Godamunne taught AUT’s first– and second-year fashion illustration programme while completing her masters degree. “You’d be surprised how many students don’t understand proportion or the human body,” she says. “When you take a drawing to the pattern maker, they’ll do exactly what you draw, and if it’s not drawn properly it’ll come out wrong. Collars, for example, are very hard to get right. It’s miscommunication in an industry where drawing well is really important in terms of your outcome and how to express what you want.”

Generally, Godamunne takes her cues from fine artists. For her Trompe L’oeil collection it was the cubists, and last year, she drew on the twisted forms of early twentieth-century
artist Egon Schiele, a protégé of Gustave Klimt. Lately, however, she’s looked at present-day London-based designers Julie Verhoeven and Gladys Palmer.

“It’s more contemporary,” she says. “It’s more linear and a lot of the detail is edited out.”

Another direction has been the move into social commentary spurred by her thesis project on Fashion Week, when Godamunne turned a satirical eye on the backstage world of the fashion industry. “Last year my illustrations were very traditional in fashion terms,” she says. “This year, I’ve put it into a context, using the figure in her surroundings, so I’ve been drawing bar scenes or trees or incorporating lighting from the spotlights in the show.”

William Hogarth and James Gillray, both eighteenth-century satirical painters, are probably not the most obvious point of reference for a 23-year-old fashion illustrator, but, says Godamunne, the use of caricature and the enduring way the artists incorporated humour in paintings about contemporary social mores were a big influence on the way she approached the project.

“I worked as an illustrator, rather than as a fashion illustrator,” she says. Having recently joined an agency, the illustrator is venturing into commercial work, although she has already contributed editorial illustrations to various magazines and for fashion labels.

“My style is so distinct I have to be cautious that I don’t pigeonhole myself. Once I go out to industry I’ll be experimenting with different styles and media so people don’t think I’m a one-trick pony. I’m looking forward to getting outside my comfort zone.”

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John L Walters rolls up his trousers and paddles into the cool wavelet sounds of Scorching Bay on Wellington’s curiously tranquil south coast, and calls out, “I’m going to have that Michael Nyman tune (from The Piano) in my head…” Before The Piano was released, Walters had featured the tune in his audio journal Unknown Public (UP03 pianoFORTE): “An uncharacteristic, but cinematically powerful piano solo. His [Nyman’s] presence in the film, as an unseen nineteenth-century composer, is as wordlessly powerful as Holly Hunter’s,” he wrote.

We’re at Scorching Bay because John Metcalfe, a New Zealand musician currently working with Peter Gabriel on his New Blood tour produced an album, Scorching Bay, reviewed by Walters in 2004. ( He said: “The best bits of Scorching Bay are as pure as a piano study or a solo improvisation.”) While in Wellington for Massey University’s BLAST design conference, Walters took a hotel in Cuba Street, the title of a track on the same Metcalfe album.

In conversation on the beach, I push him to recall the first album he ever bought. Either Help or Revolver, he says, and then quotes, in response, outspoken New York designer Paula Scher, “You can learn everything you need to know [about graphic design] from just three Beatles covers: Revolver, Sgt. Pepper’s and ‘The White Album’.”

Walters is editor and co-owner of Eye magazine, the influential quarterly international review of graphic design, founded in 1990 by the equally influential Rick Poynor, a prolific writer on graphic design and visual communication who edited the first 24 issues (1990–1997). The simpatico Walters, dauntingly clever, was a musician, composer and producer in his first life, and moves seamlessly in and out of an infinite improvisation, where music and design play with, off and against each other. “Graphic designers are like session musicians,” he says, describing the selfless ingredient of collaboration. These cross-references tumble out of him.

“I can’t not think about these connections, it’s the way my mind works.” His assertion brings to mind designer/artist/teacher Paul Elliman who, by discussing his Concorcio de Transportes (2006) audio signage project, lifted TypeSHED11 (Eye supported Wellington’s 2009 TypeSHED11 symposium by publishing a Hamish Thompson preview on its Blog) out of a comfort zone, with voices from the Madrid metro “speaking as if they were typographical language”.

The print magazine comes out of an airy second-floor office in Hoxton, a London neighbourhood that’s part of London’s currently self-confident arts culture. Contributor Steven Heller writes, “Eye came into being at a very critical time in graphic design history: it was the beginning of the digital revolution, which propelled the so-called Postmodern aesthetic and Deconstruction movements.  It was a time when type and layout experimentation was fervent, and literary and other communications theories raised the ‘discourse’ of graphic design.”

There’s not space here to speak at length about the blue-blood graphic design names who are or have been involved with Eye, so let’s just roll-call them. After Poynor, Max Bruinsma took on the editorship with issues 25–32 (1997–1999) before Walters arrived in 1999 (issue 33). Stephen Coates was art director for issues 1–26, Nick Bell from issues 27–57, and Simon Esterson since issue 58. Along with Bell and Esterson, contributors include Phil Baines, Peter Bilak, Malcolm Garrett, Anna Gerber, Steven Heller, Steve Hare, Richard Hollis, Robin Kinross, Ellen Lupton, Jan Middendorp, J Abbott Miller, Russell Mills, John O’Reilly, Tom Phillips, Alice Twemlow, Kerry William Purcell, Steve Rigley, Stefan Sagmeister, Adrian Shaughnessy, Erik Spiekermann, David Thompson, Teal Triggs, Veronique Vienne, Christopher Wilson and more. Rick Poynor now writes the regular “Critique” column. These names, edited from Wikipedia, and double-checked, I readily recognise from 20 years of reading.

Walters arrived at Eye, he says, just before the dotcom boom and bust, and launched its website just after (late 2001). Around the same time, he began writing about music for the Guardian, a review column held in high regard. And “now I’m a media owner”. He and Simon Esterson, whom he credits with bringing many new elements to the magazine, bought out Eye, in April 2008, just before the global financial meltdown. Walters is a Blogger and a Tweeter (175,000 followers: “Who are these people?”) in an era in which the iPad and tablet technology may be revolutionising the way we consume and pay for new media.

“I’ve gone from being a part-time employee to a fulltime co-owner and editor. The workload and risk is vastly different from just a few years ago.”

His parents were school teachers. He was raised in Creswell, England, a mining village with a brass band, in what’s turned out to be one of Europe’s most significant archeaological landscapes. Cave art was recently discovered at Creswell Crags, just a few hundred metres from where he grew up.

In the early ’70s, Walters headed to London to be part of the jazz scene (as I write, he’s attending, and voraciously reviewing, the London Jazz Festival) while studying for a degree in maths with physics. “I studied piano (not very well), played guitar, played in folk clubs, learned flute in the sixth form and bought a sax when I went to London after attending several jazz summer schools. I also studied privately with composer Neil Ardley.” He later joined Ardley as a member in the electronic jazz orchestra, Zyklus, 1987—1996. “School was also taken up with magazines (Eyebrow, Afghan Hound), silkscreening, drama, concrete poetry, the photography darkroom – all the pretentious creative stuff you do at 15,16, 17. Later I taught myself to play the lyricon (wind synthesizer); Richard Burgess (a New Zealander) and I worked on one of the first Roland MC8 Microcomposers in the UK, and on the first Fairlight CMI (keyboard sampler), which we borrowed from Peter Gabriel. You can hear our efforts (broken glass, cocked rifles) on Kate Bush’s Never Forever. It was the dawn of electronic music-making, which still dominates today.

“There was a time when British pop music was a big arts lab – you could bring together performance, touring, composition, writing, recording, video-making – play around with ideas and make them happen. I was fascinated by the realisation that you can make marks on paper and write songs, and it does make an impression on people, they remember it. That’s very thrilling, when you first do that – magical.

“I had a few lucky breaks in music – but it proved less enjoyable (and more difficult) to sustain as a career that would support a family.” Walters is married to writer and journalist Clare Walters – they have two daughters, the eldest, an aerial performer, is a hula hoop artist in the troupe Hoop La La.

“I went through that thing of no longer wanting to be an artist – the music business uses the word ‘artist’ which means somebody as a recognisable figure, as opposed to being a ‘session musician’, and I think having gone through a little bit of pop stardom, I actually thought that wasn’t me.”

Walters’s 15 minutes of “pop stardom” came in 1981 when his band Landscape (named after the play by Harold Pinter) hit the UK charts with the “hellishly catchy” (said a review) Einstein A Go-Go, followed by a further five minutes with Norman Bates. Peter Blake, the designer of the aforementioned Sgt. Pepper’s cover, designed a cover for their Manhattan Boogie-Woogie album, “which got rejected by the record company, RCA. It wasn’t a great album, but the cover was good.”

As a record producer, Walters had some top 20 success with Swans Way (Soul Train, 1983); he worked with Kissing The Pink, neo-progressive rock band Twelfth Night, ex-Pop Group pianist Mark Springer, and the jazz composer Mike Gibbs, whose 1988 album Big Music (Virgin, re-released on ACT) is “probably my most satisfying achievement as a producer.”

Eye came into the picture through John Warwicker (who had designed Landscape’s posters, flyers and first two album covers while a student, and later went on to form Tomato, a collective of artists, designers, musicians and writers), who suggested that they should approach the magazine about featuring Unknown Public, a hardback audio journal and CD compilation, an idea Walters devised with music manager Laurence Aston (who, in parallel with Unknown Public, established a management company, First Name, representing TV and film composers, including Zbigniew Preisner).

Named wittily after the audience for new creative music, and referred to, I read somewhere, as the “Granta of music”, Unknown Public’s guest graphic designers included Richard Hollis, Stuart Bailey (who later founded DotDotDot), Lucy Ward (successor to Paul Elliman at The Wire) and Jonathan Barnbrook, whose card inserts (see Barnbrook Bible) displayed a graphic critique of the music industry. Unknown Public never featured in Eye, but it was included in Poynor’s exhibition Communicate: British Independent Graphic Design Since the Sixties at the Barbican in 2004.

He describes the now dormant music journal (1992–2007) as “a self-subsidised labour of love” which “in retrospect seems like a bridge between my career as a musician-producer [’70s-early ’90s] and writer-editor [late ’80s-present]. When we met up last summer in London, he gave me UP15 Dancing/Listening and UP01–04 Volume One, an 80-page CD-book retrospective — both exquisitely packaged and exceptional to listen to. “The Unknown Public idea tested the ways music could be presented by using graphic design, but it was always difficult, and impossible to sustain in that format once people stopped buying music in a physical form.”

Later, when working as acting production editor at the Architectural Review, Walters would see copies of Eye on the publisher’s desk: “I think the first issue I read properly was number 13, which included Rick’s feature about Tomato, and Andrew Howard’s ‘There is Such a Thing as Society’.” Walters recognised in Eye, “a world that wasn’t mine directly, in that I wasn’t a graphic designer, but that felt closer to my interests than architecture or art.”

My entire Eye collection (I don’t have no. 1, damn it) is in storage, except for Eye no. 76, the music design special, and the latest issue (77) arrives in the post the day before Walters arrives in town.

He writes to me before reaching Wellington: “The music issue is something that had been at the back of my mind for a while, and when Catherine Dixon (in London) asked me to be a co-curator of the St Bride one-day conference last January, the timing felt perfect: we could use that day as a kind of think-tank out of which the music issue could grow. Catherine and I were the ringmasters that day, since neither of us spoke! I also felt that we had turned a corner, with a lot more young designers becoming fascinated by the legacy and future possibilities of music design.”

The possibilities: a Dutch student of David Bennewith (a New Zealand designer in The Netherlands) has just emailed his portfolio. Opening it, I am staggered by the clarity with which this young man, straight out of the Academy of Arts in Arnhem, has mapped out his thinking, visually interpreting and systematising concepts of sound, time and space. Is this student’s experimentation the synchronicity Walters is seeking to encourage?

“When I talk about design and music, it’s not because I’m trying to impose music on graphic design, it’s in the hope that my observations might make designers think slightly different about their practice and thought processes, that it might be a helpful freeing up of the mind.”

The spirit of generosity in this subtle yet extraordinary gesture is what makes Eye stand apart, and why its legacy is matched by the loyalty of its hardcore subscribers. As a reader and collector of Eye, along with other culture/specialist magazines, some of them now out of print (The Face, Octavo, Typografische Monatsblätter, Emigre, Baseline, DotDotDot and, more recently, and closer to home, The National Grid), I developed a skewed sense of ownership early on, a sort of cult belonging, inspired by the minds of Barbara Kruger (issue 5), Katherine McCoy (16), Lawrence Weiner (29), Laurie Anderson (76). It was Eye that prompted me on journeys to find the poetic works of Joan Brossa (37) whose sensibilities helped inform mine. Sculptor Josep Subirachs, whose typographic Passion Entrance to the Sagrada Familia in Barcelona brought tears (yes, design can move). I even followed the 1930s train journey of Rebecca West (author of Black Lamb and Grey Falcon) to the door of Croatian designer Boris Ljubicic, where I could “Read Between the Lines”, at 100 per cent scale, the poster’s small print revealing the genocide at Srebrenica in 1991. And in Basel, I witnessed Wolfgang Weingart making the book of his life.

Over the years, in my attempt to reciprocate, I would fire across small packages to Eye – “bombs in plain wrapping”, always with the option to leave them on a park bench – that might skim the editorial radar. Turns out Eye holds a small collection of Bruce Connew’s artist books, and Walters says he has worn threadbare the Wellington Writers Walk t-shirt with the quotation by Bill Manhire: “I live at the edge of the universe, like everybody else.”

Talking about his quest with Eye, Walters explains, “There’s a double challenge of living up to Eye’s legacy/reputation, and exploring new things as culture, technology and the profession move on. Eye has to keep changing and evolving, by its nature, but the readers have high expectations and rightly expect a certain standard of writing, design, visual editing, production, etc. It’s a challenge for our contributors, too, and they meet it magnificently.”

As we slip into cross-disciplinary talk, I recall Bruce Connew explaining The Poetics of Music by Igor Stravinsky, a book he’d read as a photography student in Guildford, England. He had replaced the word “music” with “photography”, and the book, he said, became sublimely about photography. I put this to Walters.

“A lesson to draw from Bruce’s experience is that it might be better to read a good book about a different discipline than a bad book about your own. For example, I found John Boorman’s book Money Into Light [about making his movie The Emerald Forest] more inspiring than many books about music production or graphic design.

“That cross-disciplinary influence was there long before I joined Eye, and while Bruinsma was editor I wrote “Sound, Code, Vision” for Eye 26… this blurring of boundaries between visual, written and musical languages…”.

This is a mind-swirling piece that substantiates the vast landscape of Walters’ knowledge, and his facility to wander intellectually through and connect rival expressive disciplines. As he writes in that essay, “Frank Zappa warned against the fetishisation of musical scores by pointing out that ‘you don’t eat the recipe’. In some senses, the post-war avant garde’s obsession with graphic notation is a critical commentary on the redundant conventions of European art music.” The information in this feature, and the manner in which it is presented, is laden with an expanse of mind.

“In recent years, I’ve become more interested in writing about ‘mainstream’ graphic design — interviewing people like Marian Bantjes (72), Paula Scher (77) and Anthony Burrill (75). I made a deliberate decision a few years ago to get out more and meet more designers and discover different design cultures.”

When Walters arrived in Wellington, he joined us one evening for dinner with Luke Wood and Jonty Valentine from the National Grid magazine, and Ian and Clare Athfield. Perched high up at Athfield’s Titanic Tearooms on a Khandallah hillside, looking south to the Antarctic, it was a way of throwing open the conversation, extending a network of ideas. Later, he met designer, writer and author Hamish Thompson and type designer Kris Sowersby, both of whom have had their work published by Eye. In Sowersby’s case, National and Newzald were guest typefaces in Eye no. 72 (which first introduced Simon Esterson’s redesign). Eye employs a different set of text and display typefaces for each issue and, yes, back to the music design special, which employed Galaxie Copernicus, a collaborative typeface between Sowersby and Chester Jenkins of Village in New York. Len Lye’s exhibition The Body Electric opens this week in Birmingham, and Walters is already eyeing up the New Zealand legend with a future feature in mind (imagine, experimental film, poetry, painting, kinetic sculpture, sound and, you guessed it, music), a possible cover image, spotted high up on a stairway wall of the ex-National Art Gallery, already archived in his mind.

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An overview of the exhibition at Achilles House, Auckland. Photgraph © Phillip Simpson.

One never knows what to expect with art projects, but it's always nice to have one's expectations well and truly exceeded. Thus it was with the Bevan Tonks-organised Make Something, which was on show in the dying stages of November at Achilles House, downtown Auckland. As the photographs, which are almost artworks in themselves, shot by Phillip Simpson clearly demonstrate, this was a wonderful setting for some wonderfully varied collaborative pieces. Tonks, who collaborated with architect Davor Popadich on a 'chair' project called Got Your Back was impressed with the response to the exhibition – 174 people turned up on opening night to view the collaborations between the designers and chosen collaborators.

Stealing the show in terms of pure visual impact was Leonie Whyte and Angela Jackson's pixellated reproduction of Goldie's Ahinata Te Rangituatini, but each of the other works also demonstrated a clear execution of a well-defined (but in some instances flexible) concept. Dean Poole's piece, for instance, crowd-sourced from "Mechanical Turk", was focussed on things people wanted to do before they hit 40-years old. His initial idea involved crowd-sourcing images of what people thought aliens looked like. That, he says, became a little unwieldy. Jamie McLellan and Brogen Averill's work, a collection of three sculptural objects, had the punters guessing, but the designers remained tight-lipped on inspirations, happy to let the viewers draw long bows.

For those that couldn't make it to the exhibition,  keep an eye on Te Tuhi in the coming weeks, as there are rumours of another outing for the Make Something collection. Alternatively, check out the next issue of ProDesign (out this month) for details and images of all the works. Or, alternatively, check out this review at Process.

– Michael Barrett

Bevan Tonks at Achilles House, Auckland. The scene of the Make Something exhibition. Photgraph © Phillip Simpson.

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Richardson says the poster, below (and a limited edition t-shirt run), was designed in conjunction with Mike Murphy. Richardson also illustrated the The Story of Kokako, in which the journey of the harvested coffee undertakes from the plantations in South America to it's realization as a cup of coffee, in a retro 1950's storybook style.

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ProDesign published a review on this Best Design Awards bronze-winning project a few months ago, but we recently found some additional images, shot by photographer Paul McCredie, that we didn't run — here now, for your veiwing pleasure, after the jump.

— Michael Barrett

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And it's shaping up to be a pretty interesting event, with some top notch designers and artists joining forces for some cross-disciplinary, non-commercial collaboration.

This year’s participants are Brogen Averill & Jamie McLellan, Xanthe Harrison & Anja Harrison, Tana Mitchell & Julia Deans, Dean Poole & Mechanical Turk, Bevan Tonks & Davor Popadich and Leonie Whyte & Angela Jackson.

Check it out from 26–28 November 2010, Level 5, Achilles House, Auckland, and online at makesomething.co.nz.

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