UPPERCASE 45 by Janine Vangool

div in g into a sea of poss ibilit y

for the

C R E AT I V E and C U R I O U S

B O O K S

A multi-volume book series released in whimsical (nonalphabetical) order on all manner of intriguing and creative topics.

LOOK INSIDE AND DISCOVER MORE AT

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N OV E M B E R 2019

AU G U ST 2020

O CTO B E R 2020

JA N UA RY 2019

AU G U ST 2019

REPRINTED

201 7

C U R R E N T LY

WHILE SUPPLIES

N OV E M B E R 2019

OUT OF PRINT

L AST !

S H O P

FROM THE EDITOR’S DESK

Dear Reader, The mission of everything I make at UPPERCASE, in my magazines and books, is to inspire you. Through beauty, authenticity and community, my intention is to lift your spirits, boost your creative energy and connect you with kindred spirits. Inspiration is created in gathering and mixing together various forms of art, craft and design. I curate the content in each issue loosely by theme, but when an issue comes together at the design stage, there’s always the element of surprise. Commonalities and coincidences appear. Similarities and serendipity rise to the surface. It’s a joyful and fun task to put together each issue, to play with an abundance of beautiful text and imagery. I can choose what’s in each issue and control where things go on the page, but there’s always one missing ingredient that can’t be mixed in until later. And that’s you, my reader! You bring your experience and perspective to the content within. Your own ideas, opinions and aesthetic preferences mingle with mine and those of the artists profiled inside.

WAT E R C O L O U R S P O T S F R O M R A W P I X E L

And it’s in that nebulous space between the printed page and real life, between you and me, that new ideas emerge.

Jani n e Vango ol P U B L I S H E R , E D I TO R , D ES I G N E R

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SUBSCRIPTIONS, RENEWALS, BOOKS AND BACK ISSUES

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Contents A pr i l / M ay / June 2020

WAT E R C O L O U R S

a ngela feh r

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U P P E R C A S E

Craft

Welcome

Art & Design

Editor’s Letter . . . . . . . . . . . . . . . . . . 3

COVER ARTIST . . . . . . . . . . . . . 34

STUDIO . . . . . . . . . . . . . . . . . . . . . 94

Contributors . . . . . . . . . . . . . . . . . . . 6

Achieving Transparency Mariko Kusumoto text by Laura Tarrish

The Unbearable Lightness of Flowers: Anne ten Donkelaar Story by Jane Audas Photos by Louis Lemaire

Subscriptions . . . . . . . . . . . . . . . . . . 7 Snippets . . . . . . . . . . . . . . . . . . . . . . 8 Noted . . . . . . . . . . . . . . . . . . . . . . . . . 10 Stockist . . . . . . . . . . . . . . . . . . . . . . 11 Worthwhile . . . . . . . . . . . . . . . . . . . 12

ABECEDARY . . . . . . . . . . . . . . . . 44 Liquid Art by Lydie Raschka

Creative Prompt . . . . . . . . . . . . . . 13

CREATIVITY . . . . . . . . . . . . . . . . 46

Fine Print LIBRARY . . . . . . . . . . . . . . . . . . . . 16 Recommended Reading by Janine Vangool

CREATIVE CAREER . . . . . . . . 18 Ghostwriter & Author Kern Carter

Let the Painting Lead Story by Angela Fehr Photos by Karleigh Nickel

BUSINESS . . . . . . . . . . . . . . . . . . . 22 Throwing Around Ideas by Arianne Foulks

FRESH . . . . . . . . . . . . . . . . . . . . . . . 24 Audie Cunningham, Martha L. A., Asma Enayeh, Ruth Scholl and Libby Beck

HOBBY . . . . . . . . . . . . . . . . . . . . . 108 Immersive Inspiration by Brendan Harrison

ORIG IN . . . . . . . . . . . . . . . . . . . . . . 54 Buoy oh Buoy by Correy Baldwin

Misc. SUBSCRIBER . . . . . . . . . . . . . . 110

GALLERY . . . . . . . . . . . . . . . . . . . 58 On Water Reader Submissions

Vicky Phillips

CIRCLE . . . . . . . . . . . . . . . . . . . . . 112

MUSING . . . . . . . . . . . . . . . . . . . . . 20 A Handful of Grains by Kim McBrien Evans

CERAMICS . . . . . . . . . . . . . . . . . 104 An Artist’s Statement by Courtney Mattison

SKETCHBOOK . . . . . . . . . . . . . . 80 The Sea Journal by Glen Dresser

The UPPERCASE Circle: a free community for subscribers

SHARES . . . . . . . . . . . . . . . . . . . . 113

ADVENTURE . . . . . . . . . . . . . . . . 84 Weather Watching with Helen Stephens and Gerry Turley Story by Emily Orpin

Instagrams from readers

COVET . . . . . . . . . . . . . . . . . . . . . 114 The Pull of the Ocean by Andrea Jenkins

BEG INNINGS . . . . . . . . . . . . . . . 28 Where Do Ideas Come From? Story and illustration by Meera Lee Patel

ASK LILLA . . . . . . . . . . . . . . . . . . 32 People Buy Your Joy Story and illustration by Lilla Rogers

PUBLISHED I N D E P E N D E N T LY SINCE

2009

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U P P E R CAS E 201B – 908, 17th Avenue SW Calgary, Alberta Canada T2T 0A3

Janine Vangool P U B L I S H E R , E D I TO R , D E S I G N E R

janine@uppercasemagazine.com C U STO M E R S E RV I C E

shop@uppercasemagazine.com

Correy Baldwin C O PY E D I TO R

Core Contributors Jane Audas Correy Baldwin Andrea D’Aquino Melanie Falick Arianne Foulks Joy Deneen Glen Dresser Brendan Harrison Andrea Jenkins Linzee Kull McCray Andrea Marván Kerrie More Emily Orpin Lydie Raschka Christopher Rouleau Laura Tarrish

THANK YOU Thank you to everyone who submitted to the open calls for this issue. Even if you weren’t featured within these printed pages, your effort was noticed and appreciated! UPPERCASE has the best readers in the world. P RI NTE D I N CA N A DA BY T H E P R O L I F I C G R O U P.

Interior pages are printed on 100% post-consumer recycled Rolland Enviro 100. Give this magazine a long life! The content is evergreen, so we hope you’ll revisit it over and over again. If you’re done with it, please pass it on to a friend or colleague who might enjoy our content, or cut up the pages and create some art.

C O N T R I B U TO RS

Thank you to the many talented contributors, creative collaborators and loyal readers who submitted to this issue.

Kim McBrien Evans Curiosity, exploration and an ever-expanding plan for world domination are the name of the game for fibre artist Kim McBrien Evans. She is renowned for her unique, contemporary knitwear designs and vibrant use of colour. She lives, makes and writes in the woods of Central Ontario. @indigodragonfly

We plant a tree with every subscription. treeera.com 6

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U P P E R C A S E

SUBSCRIPTIONS

Subscribe! Each issue is a labour of love: love for print as a medium and love of creativity as a way of life.

This independent magazine thrives because of you— its loyal subscribers! shop.uppercasemagazine.com

This quarterly magazine is released in January, April, July and October. CANADA/USA

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I N T E R N AT I O N A L

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RENEWALS You will receive a notice by email when it is time to renew. Renew online anytime to add issues to your current subscription.

GIFTS Select the gift subscription product and simply enter the recipient’s name and address in the shipping information when you check out.

BACK ISSUES Get them while you can! Issues 1 through 28 are out of print. uppercasemagazine.com

STOCKISTS To view our list of stockists or to carry UPPERCASE in your shop: uppercasemagazine.com/ stockists

QUESTIONS? Have a question about your subscription or a change of address? Email us: shop@uppercasemagazine.com

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PARTICIPATE Share your ideas and art and enter the open calls! uppercasemagazine.com/ participate

Snippets F O L LOW I N G

ROBIN JOHANNA ARCHER In the overstimulation of Instagram, it is nice to step off the scrolling highway and detour to a place that is calm, pretty and relaxing. Robin Johanna Archer’s Instagram account offers just such a respite. Highlighting her delicate landscape watercolours, painted portraits of old buildings, houses and objects, and skillful photography, this is an Instagram rest stop for the eyes and soul. “I grew up in a small town on the Midwestern prairie and I am still drawn to wide-open landscapes, old houses, quiet main streets, and the everyday objects my grandmothers would have used,” says Robin. “I document what inspires me with watercolour and the camera lens, searching for a broader story in the buildings, things, and landscapes that surround us.” @robin.johanna.archer

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U P P E R C A S E

things to see

P RO M P TS

D E C K O F CA R D S Emily Gaines Demsky’s f/LIGHT DECK contains 28 cards featuring bright floral paintings on one side with affirmations, questions and actions on the reverse. The prompts are simple (“Take a Nap,” “Do Something Nice for Someone Else,” “Say out loud or to yourself: There is no right way. There are lots of ways.”), but sometimes that’s all it takes to find curiosity, joy and a moment of pause in a busy day. emilygainesdemsky.com

BRUSH RESTS At the Fish Museum and Circus, artist Deborah Fisher makes adorable companions to hold your brushes. C U T E N E SS

fishmuseumandcircus.com

Look for Deborah’s profile in our forthcoming book, Ceramics.

A DV E N T U R E

SHETLAND TEXT AND TEXTURE This September, join the Travelling Bookbinder Rachel Hazell in exploring coastline and peat lands, maritime history and all the shades of wool in this island adventure. Bind a series of seven stitched books, filled with the text and texture of Shetland landscapes, contained in a bespoke slipcase. thetravellingbookbinder.com

WINNER

BEX MORLEY U P P E R C A S E S U R FA C E PAT T E R N D E S I G N G U I D E Selected from over 700 entries in the UPPERCASE Surface Pattern Design Guide, third edition (issue #41), artist Bex Morley was the winner of a fabric licensing collaboration with Windham Fabrics. Her collection, entitled Meadow Whispers, ships to fabric stores this July. windhamfabrics.com bexmorley.com

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N O T E D

DEEP SEA

coral

Blanka Bakowicz’s felted sea brooch is inspired by the ocean. “It resembles a piece of coral reef with arms or tentacles spreading in all directions.” blancraft.etsy.com

T R E AS U R E

WATC H Coral reefs around the world are vanishing at an unprecedented rate due to rising ocean temperatures. This is a beautiful and devastating documentary about coral bleaching.

Jewellery artist Romilly Saumarez Smith’s Sea Thimbles are made from bronze thimbles, silver and 18 carat gold. romillysaumarezsmith.com

chasingcoral.com

H I STO R I CA L C O R A L Beautiful (and free) downloads of art in the public domain include the Great Barrier Reef Corals from the Great Barrier Reef of Australia (1893) by William SavilleKent (1845-1908) and this Flat Gorgonia illustration from The Naturalist’s Miscellany (17891813) by George Shaw (1751-1813). rawpixel.com

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U P P E R C A S E

S T O C K I S T

Highlighting independent brickand-mortar shops who stock UPPERCASE publications and other lovely things.

FIELD TRIP

Field Study ST. G EO RG E , U TA H , U SA H E AT H E R CA RS O N

I opened my studio shop, Field Study, in October 2019. I am a graphic designer and illustrator, and sell stationery, gifts and home décor—some I design and some I source from other makers, artists and wholesalers. I’ve been selling online or in pop-up shops for years, so having my own brickand-mortar is a dream come true. The shop side of my space is only about 300 square feet. It’s so tiny, which can surprise people who come in. I try to mix things up a lot and have worked to make it a bit of a treasure hunt. But the small physical space can be a huge challenge when I find so many awesome things I’d love to carry! My online shop is in the works, so that will help a bit. Whether it’s with something I create or something I curate, I hope that when my customers visit Field Study they are inspired to be brave in their own creative explorations, they see something that sparks their curiosity or they just find something good that makes them happy. UPPERCASE magazine fits right in. I love introducing it to people who haven’t discovered it yet. It’s such a treat! I love the thrill of discovery, and finding or developing great products is so fun. But, my favourite part of owning my brick-andmortar shop is being able to meet and interact with so many great people in my community. fieldstudydesign.com @hellofieldstudy

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W O R T H W H I L E

Using our creativity for good is one of the best ways we can make a difference. Through design, art and craft—and with our hands and hearts—we can effect change. However small it may seem at first, each incremental effort is still significant.

G ROW I N G TO G ET H E R BY

m i r i da h a n

AND HER COMMUNITY

the blooming meadow

he Blooming Meadow (Ha-chu Ha-poreach) is a volunteer-run community garden in Be’er Ya’akov, Israel, that began nine years ago with a small group of women who shared a dream of having nature at their doorstep. There was a strip of neglected land in our neighbourhood, discouragingly filled with garbage and construction debris. But in our fast-growing town, where every bit of land is built on, paved or designated to be a grass/bushes/playground park, it was a rare find. We decided to try to reclaim it to create a haven where nature is the playground; a place for contemplation, relaxation, discovery and excitement; a place for the senses, the body and the soul. We talked to our mayor about wildflowers that change with the seasons, ripe fruit that can be picked and eaten on the spot, and room for kids to wander and play freely and simply. We asked him about his childhood experiences. This was all it took—he was in. The municipality cleared the debris, and we set off to plant and sow. Sustainability and community participation have been the foundation of the design and creation of the garden, as it evolves, and our decisions are a result of observing and analyzing our visitors’ experiences (and our wildflowers’ preferences). We rely almost exclusively on reclaimed materials—pathways are bordered with old pavement stones and lined with the bark that our eucalyptus trees shed every winter; the street library is built from discarded furniture and the fences are made from packaging material; the wildflower seeds are collected in the garden every year or rescued from areas claimed by contractors. The garden is planted, built and cared for by the community. We have a wildflower meadow, fruit trees, a street library for the young and old, a meditation area, a barefoot trail and more. Families come with toddlers to read a story or draw with the sidewalk chalk; people walk their dogs, run or bike; schoolchildren come for an open-air classroom experience; and kindergarteners come for weekly exploration visits. The meadow serves as both a product and a process, a mobilizing tool for community engagement that continually nurtures a sensitivity and a commitment to nature, sustainability and simplicity.

@miriomri

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U P P E R C A S E

C R E A T I V E

P R O M P T

where do ideas come from? Where, how and why do you get ideas? What circumstances, surroundings or mindset results in a sea of creative ideas? I L L U S T R AT I O N B Y

d ia ne tom pk ins

Diane Tompkins K A N SAS C I T Y, M I SSO U R I , U SA

Cheryl Ring

Juliette Galstaun

P R I N C E A L B E RT, S K , CA N A DA

B U F F P O I N T, N SW, AU ST R A L I A

They come from noticing, from being aware, memories, seeing, understanding and interpreting. Ideas present themselves, all we have to do is recognize and connect to the material. Take time to ponder, think and feel. Ideas are plentiful, time is short!

The Where, How and Why of Ideas

@ringcherylvisualartist

Washing dishes, a closed door, a long walk, behind the eyelids of a stolen nap. Best of all is an empty house, an empty space— to spark, to warm, to incubate. It’s a scent, a floating falling feather, an urgent shoulder tap. But also a slap, a punch in your gut, a mighty big-voice shouting— hey, listen up! A human need, an ancient desire, to unfurl, to shine, to radiate. By mark-making, by colour and tone, by unique shape and form, we express— the inexpressible.

I look at my worktable in the morning, with my freshest eyes, seeing if I can find something playful to start the day. This watery piece began as scraps of my old, recycled watercolour paintings. The oval shapes turned into fish. It’s wonderful when I can bring the right elements together. My eye knows the solution before my rational, planning brain has a clue!

Tiana Harris C H I CAG O, I L L I N O I S , U SA

I definitely need a clean space. Clearing out my desk and office space helps to clear my mind and let me focus. If I really need to focus on the creativity of the composition I won’t have music on, either. Once my space is clear, I begin my research, finding visual references for the project at hand. digitalKENTE.com

@juliette.gal.art

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RECOMMENDED READING by janine vangool

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U P P E R C A S E

L I B R A R Y

P L AY F U L

If You’re Bored with Watercolour Read This Book

E XU B E R A N T

Bloom Wild: A Free-Spirited Guide to Decorating with Floral Patterns BA R I J. AC K E R M A N

P H OTO F RO M B LOO M W I L D BY CA R L E Y PAG E S U M M E RS

To make a bouquet, you need many flowers. Surface pattern designer Bari J. Ackerman takes floral patterns in décor to the next level—her home is a bouquet drawn of botanically inspired murals, pillows, upholstery, rugs and more. “Bloom Wild is for rebellious maximalists seeking savvy advice for decorating their homes with bold floral fabrics,” she says. And it’s a book for floral pattern lovers for whom more is always best. barijdesigns.com abramsbooks.com

See that pretty book open on the carpet? That’s Bari J featured in Botanica, Volume B in the UPPERCASE Encyclopedia of Inspiration. The original print run is sold out, but you can register your support for a reprint by adding your name to the wait list on our website!

THOUGHTFUL

The Art of Gathering: How We Meet and Why It Matters

V E RO N I CA BA L L A RT L I L JA

P R I YA PA R K E R

I think most UPPERCASE readers will agree that painting with watercolour is far from boring, but in this book series If You’re Bored with… from Ilex Press, artists show you both tried-and-true techniques and more experimental methods of injecting some new energy into your medium of choice.

In this age of constant connectivity through digital means, it is more important than ever to have meaningful in-person connections.

Veronica Ballart Lilja is a Swedish illustrator in New York who creates confident, fluid images for fashion, products and patterns. Her book on watercolour is beautifully photographed with the tools of creativity—and some unexpected ones, too (like using hair combs for making rough textures). In the book, organized by traditional subjects like food, still life, fashion, nature and cityscapes, Veronica shows off her liquid skills, showing the contrasts between letting loose and having control over this fluid medium. veronicaballart.com ilexinstant.com

Priya Parker writes that “gathering—the conscious bringing together of people for a reason—shapes the way we think, feel, and make sense of our world.” She demonstrates how some of the traditional concepts in the realm of business (meetings and conferences), as well as the personal (dinner parties, weddings and funerals), often don’t fully serve the intention of our gathering, that we get stuck in perceived expectations and societal constraints. By sharing her own personal and professional experience alongside anecdotes and examples of other innovative gatherings, Priya invites us to reimagine how we can bring people together to create meaningful interactions that have depth, personality, good controversy, energy and lasting impact on the host, their guests and potentially the world at large. priyaparker.com riverheadbooks.com

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C R E A T I V E

C A R E E R

Kern Carter G H OST W RITE R , AUTH O R , FREELANCE WRITER, BLOGG ER

U P P E RCAS E Please describe what you do and why.

I always think of myself as an author first. I’ve self-published two fiction books, the first being a novella titled Thoughts of a Fractured Soul and the other titled Beauty Scars. I’ve also created a blog called CRY, where I share stories (and have over two dozen writers sharing stories) touching on the emotional side of writing and creating. My most lucrative job comes from ghostwriting and freelancing. I ghostwrite books usually for CEOs or founders. With freelancing, it’s typically content writing for large organizations such as RBC. K E R N CA RT E R

What makes your job, profession or career unique and interesting? From the ghostwriting perspective, it’s getting inside someone’s entire life. I usually have to interview friends and family, and that always makes for some kind of drama. Everyone wants to be open and honest until they see their words 18

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on a page. With my CRY blog, I get joy from a couple of places. First, having readers comment on how valuable some of the stories have been to their careers fills my heart every time. Second, just seeing how far CRY has come. I started it as a place to vent about the frustrations of writing and it’s turned into something I can share with writers and creatives from around the world. For my freelancing, I think it’s being able to take on multiple projects at the same time. During a month, I can write for six or seven different clients in completely different industries. Having the ability to switch voices and tones to align with the client’s brand is something I’m proud of. What training or education prepared you (or didn’t!) for this career? I do have a degree in English but nothing prepares you for ghostwriting a book until you actually write one. For me, it’s

been about learning on the fly and knowing that I’ll always be learning. I equally enjoy formal education. Just last year, I took a creative writing course, and in February I’ll be in a novel writing course at the University of Toronto. It also helps that I’m open to new experiences. A writer’s best friend is the experiences they go through. What advice do you have for someone trying to find their own creative career path? Find a way to serve others before you serve yourself. My goal is to one day be a full-time novelist and have people buy my books. Until then, I’ll offer my services by helping others write theirs. I’m still writing books, but I’m still in the giving phase. I’ll also tell them to get over the fear of being rejected. As a creative in particular, you hear “no” far more than you hear “yes.” It’s part of the process of getting better and growing in your discipline. kerncarter.com

B O O K S

A multi-volume book series released in whimsical (non-alphabetical) order on all manner of intriguing and creative topics.

AU G U ST 2020

Help fund the publication of these books by pre-ordering your copies today!

O CTO B E R 2020

CERAMICS

YARN-THREAD-STRING

Ceramics highlights the work, studio, processes and inspirations of an interesting variety of artists who work in the field of ceramics, pottery and related creative endeavours. The book is curated by UPPERCASE publisher Janine Vangool along with co-authors Carole Epp and Julia Krueger.

This book gets up close and personal with fibre, telling the stories and processes from venerated traditional thread companies to individual artisans raising sheep to make their own wool. We look at natural fibres and how they are made, and how design plays a part in the visual appeal of fibre brands. We’ll also explore innovative fibres that repurpose and recycle our valuable resources.

Our focus is on independent, working artists with a diversity of objects, styles, backgrounds and cultures—curated with the optimistic and eclectic eye that makes UPPERCASE publications so unique. With profiles of 50 contemporary studio potters and ceramicists, illustrated with beautiful photography of their work and studio, Volume C: Ceramics will be a gorgeous and informative addition to your Encyclopedia of Inspiration library.

Yarn-Thread-String also highlights artists, craftspeople and creative entrepreneurs who use these fibres in unique and inspiring ways. Through this book, you’ll gain a new and exciting perspective on what fibre is—and how we can use it to express our individuality, creativity and humanity.

encyclopediaofinspiration.com

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B U S I N E S S

throwing around ideas I M I TAT I O N , C O P Y I N G A N D D E V E L O P I N G YO U R O W N T H I N G ||| STO RY ( A N D P OT T E RY ) BY

a rianne foulks

’m taking a ceramics class right now— wheel throwing. The first time I took the beginner class, I learned what not to do, and this second time, I’m learning what to do.

Pottery is harder than it looks. I saw that I wasn’t going to be able to make what I wanted immediately. So, instead, during the first eight-week class, I played. I got my hands dirty (literally!), learned how it felt and discovered how the clay would react to my touch. It spun, it buckled, it careened off centre, it tore. But I did get enough pieces to the glazing step to then play around with decorating and start finding out what I liked and what I didn’t. Since I was new to the tools and techniques, I decided not to focus on outcomes, but rather immerse myself in process. I didn’t have any specific objects in mind to make, and didn’t have a goal beyond getting a feel for it and starting to develop muscle memory. This time I do want to make some pieces that I’ll use at home or will want to gift. I am trying to make plans in advance, to measure things and consider colour

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schemes. The step where I’m feeling most cautious is decoration. I don’t have my own style yet when it comes to ceramics. There are so many ceramic artists that I admire. How can I come up with something new that is my own design, without copying anything I’ve already seen? I’m not planning to sell my work, so for practical purposes, I could go ahead and copy anyone, take it home, and enjoy it. But I don’t want to. There’s an internal pressure to come up with my own unique designs. I have been inspecting each ceramic object in my house, noticing mugs and dishes out and about, and considering the pieces at the studio. How did they make that? I’ve been trying to find a way to turn this inspiration into my own ideas. I recently read Steal Like an Artist, by Austin Kleon, which reassured me that the way we learn is by copying. There isn’t anything new under the sun, and the good artist will honour, transform and remix the work of other artists. The trick is to not degrade, imitate or plagiarize anyone. So for now, as a beginner, I’m finding inspiration in what I see around me. I am going to consider how I can use various existing techniques, but throw in some quirky “me” things. If I keep it up, my style in this medium will emerge, then grow ever more confident and assured. I’m interested to see where I end up!

In business, an authentic style leads to success. new ideas, but there are twists and spins on what other people have already done. That doesn’t mean we shouldn’t begin. Our take, addition or transformation might be exactly what the world needs. Have you had your creative work copied and are wondering what to do next? We’ve pulled together some advice from artists who have been there (Rifle Paper Co., Skinny laMinx and Emily McDowell, among others). Go to aeolidia.com and enter “copycat” in the search box to find these articles. aeolidia.com

In business, I have seen that a unique, authentic style leads to success. I can spot my favourite clients’ thank you cards, wire jewellery or tote bags from across the room in a gift shop. When they have a solid style, I don’t even have to look at the tag to know who designed it. Inevitably, people with a strong style, unique idea or special technique will be copied. It is easier than ever for designers to get their products in front of their customers’ eyes, but it also means their competitors can be hot on their heels. Imitation doesn’t feel so flattering when people are selling knock-offs of your product for half the price. I’ve heard over and over from designers that it is usually more practical to innovate than to fight the copycats. The artist’s strength can be to focus on their authentic style and be the best at what they do. Or the artist can use their creativity to keep coming up with something new—the next thing for the beginners to copy. It pushes you creatively to always want to be a step ahead of whoever is copying you. Remember, a copycat can know what you did last year, but they can’t know what you’re going to do next year. It can be frustrating to be imitated, and it can also be frustrating to try and figure out how to create without imitating. Everything has been said before, but there’s no need for us all to stop talking. There aren’t any brand

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F R E S H

Audie Cunningham L A N D E R , W YO M I N G , U SA

fresh talent

Greetings, my name is Audie and I am an artist and surface designer living in Lander, Wyoming. I seek to help people hold in their hands something that is as unique and beautiful as they are. Everyone should have the experience of building personal spaces that are reflections of their personalities, that are unique and colourful, and that inspire joy. I want to help people connect with nature and enjoy the simple pleasures in life. At the heart of what I do is cultivating something that is meaningful for me as a creator but also meaningful for my clients and anyone who wants to create a home space that inspires them. I am trying to accomplish all of this by creating hand-painted, vintage-inspired floral patterns and paintings from my little studio in wild Wyoming. I dream about helping to create artwork and patterns for home dĂŠcor businesses like Chairish, Artfully Walls, Hygge and West, and Graham and Brown. @audie_rose_design

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Martha L. A. OT TAWA , O N TA R I O, CA N A DA

Hello, I am Martha and I am an artist to the core. I consider art to be a way to uplift people and open their hearts. My artwork is all about finding the subtle state of beauty and harmony that will make someone sigh in delight when they look at it. My current body of work is called Circles of Life. I have come to use the circle as my canvas because it represents wholeness and completion. And yet with the use of colours and textures, I am able to intuitively bring forth infinite creations, much like life in its eternity. Circles of Life is created by hand, using pencils and markers. I would love to work with printing companies in order to have my artwork displayed on beautiful stationery products. I also look forward to having these circles of life, as I call them, be printed on clothing articles and beyond.

Asma Enayeh D U BA I , U N I T E D A R A B E M I R AT E S

I am Asma, an illustrator living in Dubai. I love painting with gouache and colour pencils. Travel is my main inspiration and I love painting portraits of people from all around the world. I have visited cities in more than 27 countries so far. I have included a project I did of painting portraits of girls with their favourite cups. @asmaoriginal

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Ruth Scholl D E L R I O, T E X AS , U SA

I was raised in a large, loud family of 10 and was always encouraged to play, draw and create with my hands. My siblings and I grew up homeschooled in Minneapolis, Minnesota, and I’ve been creating for as long as I can remember. Now, as an adult, I’m excited for my artwork to be less about me and more a way for me to connect with others and bring people together. I’d love to work in editorial illustration, where I can be a part of bringing stories to life and collaborating with an author. I’d love for someone to see my illustrations and recall a small memory from childhood, or simply be reminded of Grandma’s guest bedroom quilt. @ruthescholl

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Libby Beck VA N C O U V E R , BC, CA N A DA

Painting is a new focus for me after many years as a potter. My current work involves painting on old book pages. I love the graphic backdrop of the typography and the well-worn quality of the book pages. My paintings are bright and joy-filled abstracts. I am just beginning to expose this creative work and Iâ&#x20AC;&#x2122;m feeling very good about this new endeavour. Iâ&#x20AC;&#x2122;d be delighted to be featured in your very inspiring publication. @LibbyBeckStudio

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THIS IS A LOW RES PREVIEW OF A HIGH QUALITY Q U A R T E R LY P R I N T M A G A Z I N E PLEASE SUBSCRIBE

Art & Design achieving transparency

mariko kusumoto

STO RY BY

la u ra tar r i s h

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Garden Mosaic

Blue Bubble Brooch

Pink Bubble Necklace

Coral Necklace

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As in her metal work, there is an element of surprise and layering in the fabric creations. The beauty and seemingly fragile quality of her pieces belies an underlying strength. With this technique, Mariko has produced both sculptural pieces and wearable art. The scale ranges from jewellery composed of tiny orbs filled with biomorphic shapes to larger-scale constructions. The colour palette is bright and opulent. Although they possess less obviously moving parts, the pieces are, she says, “light as air,” and can sway in a breeze, as in the sea-like tendrils in “Red Flower Brooch,” or perhaps have loose parts that playfully animate the fabric balls. When asked if she had a studio in her home, she replied, yes, “and my work has taken over every room in the house. I like that as soon as I wake up in the morning, I can start working on my dining table!” In fact, her work consumes her and leaves her little time to manage the business side of being a celebrated artist. Along with his day job in publishing, her American husband Glenn Sadin handles the logistics of participating in and travelling to shows, and, she says, “corrects the English in my correspondence!” Mariko says she trusts Glenn’s visual sense and can always rely on him for valuable feedback.

Awa

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Craft

anne ten donkelaar

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S T U D I O

the

unbearable lightness of flowers

II N NT TE ER R II O OR R P PH HO OT TO OS S P PR RO OD DU UC CE ED D B BY Y II N NS S II D DE E H HO OM ME E P PA AG GE ES S // A AR RT TW WO OR RK K P PH HO OT TO OG GR RA AP PH HY Y P PR RO OV V II D DE ED D B BY Y A AR RT T II S ST T

nne ten Donkelaar makes work with and about flowers. Flowers are her longtime (if not lifetime) obsession. She remembers that as a child she was fascinated by them; she was always picking flowers, or making perfumed water with flowers. “Flowers are so beautiful and smelly,” she says. “Sometimes I wonder if it will ever stop, my obsession. I can be in a flower shop and still be so amazed by the colours and the structures. I just think flowers are really amazing. I love them.” Anne works, then, with things she loves, which is a life goal to which we might all aspire. Flowers become, in Anne’s hands, works of art—composed, arranged and pinned under glass in her many framed Flower Constructions; floating, tethered, seeking air when submerged in water, in her Underwater Ballet photographs; or squeezed into letting go of their colour in her Flower Pigment prints.

Anne works from her airy, beautiful and interesting home in Utrecht in the Netherlands, surrounded by plants and the flotsam of a young family. In her studio there, she likes to work alone, for the head space it allows her: “I like the quiet because then I can get in the flow. I feel more free when I work alone.” But recently she has found herself dreaming (a little) about having a studio assistant, as her professional life becomes busier and more commissions come in from different places. As well as her artworks, she has recently completed commercial work for jewellers Tiffany (catalogue illustrations) and the Parisian department store Printemps (window displays for their 150th anniversary). She likes these one-off jobs; they are something different and mean her work reaches new audiences. STO RY BY

ja n e a uda s I N T E R I O R P H OTO S BY

lou i s lema i re

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S U B S C R I B E R

ideas afloat!

Vicky Phillips LO N D O N , U K

Welcome aboard Lightship Print Shop, Londonâ&#x20AC;&#x2122;s floating surface pattern studio! My husband and I live on board this big red Lightship moored in East London, with the bow converted into Lightship Print Shop.

Show us your studio! uppercasemagazine.com/ participate

I feel very lucky to be able to work in such a wonderfully bespoke studio (complete with risograph machine!)â&#x20AC;&#x201D;it is certainly a lovely space in which to invite clients to see the collection! My background is in illustration and surface pattern, and before setting up Lightship Print Shop I worked in-house for Paperchase for six years (which was great for developing a wide range of styles and for understanding the commercial market). I left last spring to set up the studio, an experience which has been both terrifying and exhilarating! Since then I have taken the collection to trade shows in London, Paris and New York, and it has been wonderful to meet so many lovely and supportive people along the way, from other studios, new clients and creative people who find the studio through social media. lightshipprintshop.com @lightship_print_shop

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C I R C L E

Looking forward… There’s a lot to look forward to in the year ahead at UPPERCASE—and many ways in which you can be involved or even get published! Look for all the details and deadlines for the open calls on our website and be sure to sign up for my weekly newsletter for behind-thescenes updates!

Circle

Little U Little U is the offspring of UPPERCASE magazine—creativity for the young at heart! Volume 2 and Volume 3 of this smaller and cuter version of UPPERCASE are available for preorder now!

Make connections, nurture your creative spirit and grow your business!

Ceramics Volume C in the Encyclopedia of Inspiration is co-authored by Carole Epp and Julia Krueger. The book will come out in the fall. These books are limited edition, so make sure to get yours by preordering the 2020 Encyclopedia set. Yarn-Thread-String In Volume Y in the Encyclopedia of Inspiration, we get up close and personal with yarn, thread and string, to be released in late 2020. These books are limited edition, so make sure to get yours by preordering the 2020 Encyclopedia set. Issue 46, 47 and beyond Some themes I’ll be exploring in 2020 include collage, science, authorship, stationery and more. Pitch your article ideas and theme suggestions anytime by emailing submissions@ uppercasemagazine.com.

The UPPERCASE Circle is a vibrant community hub. One that is a valuable source of motivation, inspiration and encouragement for like-minded and kind-hearted creative people from around the world. Although the community is initially brought together by its support for and appreciation of UPPERCASE magazine, the Circle will enhance your experience of all things UPPERCASE while providing additional value to your creative life through conversation and sharing of knowledge. •

Connect with members of the UPPERCASE community— both near and far—who share your interests.

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Share your work with your peers, mentors and potential customers.

Fabric Look for my fourth collection with Windham Fabrics, to be available for shop preorders in mid-2020. It will be available to consumers in shops next year.

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Find inspiration, motivation and new perspectives.

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Move your creative business forward with tips, tools and support from peers and guest experts.

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Live video conferences and video chats.

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Learn and grow through e-courses (coming in 2020).

Access to this community is FREE when you subscribe to UPPERCASE magazine! uppercasecircle.com

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S H A R E S

Thereâ&#x20AC;&#x2122;s no social media strategy team behind my Instagram and thatâ&#x20AC;&#x2122;s why your pictures of UPPERCASE in your lives means so much to me personally! Please share your pictures and stories of my books, magazines and fabric on Instagram @uppercasemag with your friends, family and colleagues. #uppercaselove for all things UPPERCASE #uppercasemag for the magazine #uppercasereader to share what you make #encyclopediaofinspiration for the books #uppercasefabric for my fabric collections with @windhamfabrics #littleumag for my little magazine for the young at heart

@ j a m i b o u v i er

@s h e l l eysdav i es

@sa l ly h j a m e s

@ m a r y_a n d _ p a tc h

@se a m sw r i te

@sa ra h a r l ey. p h o to s

@s iya l i u i l l u s t ra t i on

@ j i l ly j ac kd e s i g n s

@ m a g a l l er i a b a t h

@ac e a n d j i g

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C O V E T

the pull of the ocean

STO RY A N D P H OTO BY

and re a j enkin s

y earliest memory of the ocean took place hundreds of miles away from any real ocean. As a child, I’d float on my back in a bathtub full of warm water, submerge as much of my small body as I could and close my eyes. Only the tip of my nose poked up out of the water, and in this fully submerged state, I swore I could hear the ocean. I had never been, but the sound and feel of the water were so strangely familiar, the silence so opulent, I was convinced I was floating in the middle of the sea. I was not wrong. Well, I was, but not entirely. To float in any body of water, bathtub or otherwise, and dream of the ocean is to connect to a deeper part of ourselves that is innately and universally drawn to it. Human beings are in love with the sea. We dream about it, sing about it, write stories and songs about it, make paintings and take photographs of it, gather endlessly at its edges, eagerly wade out into its vast unknown, allow its waves to pull and push us along, emphatically claim we are healed by it, forever changed by it. We build homes and villages as close as we can to it, plan entire vacations around it, fly airplanes, ride trains and drive long hours to reach it. And then we leave it, only to spend hours dreaming of our return. One thing is certain—the pull of the ocean is as strong for humans as the moon’s gravitational pull on the ocean itself.

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Is it any wonder? To stand at the edges and breathe in sight, sound and scent is to quiet a cluttered mind, make space for ocean colour and light. To wade out into the sea is to feel a little bit like walking on the moon, our bodies magically more buoyant as waves push and pull us into a rhythmic ebb and flow that mimics our own breathing. Research shows that mere minutes in its presence and the body is flooded with the neurochemicals that increase blood flow to the heart and brain, which, in turn, generates meditative states known to make us calmer, happier and more creative. Is it any wonder? Water, after all, makes up nearly 70% of our own bodies and covers more than 70% of the surface of the world we live in. It would be years before I actually floated on my back in the ocean for the first time, and confirmed what at seven years old I already knew to be true. Now, it’s a yearly ritual for me. We pack up our things and drive south 10 hours until we reach the ocean. The moment we arrive, we stumble out of the car and head towards the shore. Waves lick at our feet and I am instantly reminded just how much the ocean feels like a living, breathing thing. Perhaps we are inherently drawn to it because it feels so alive, it makes us feel so alive. I know that when I float in it, the world will fall away. For a few minutes, it will just be me, my own breath, my own body and the familiar, ancient breath of the sea.

S H O P

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