The Australia Times - Australian Made magazine. Volume 2, issue 1

Vol. 2 No. 1 August 2014

THE

AUSTRALIA

TIMES

AUSTRALIAN

MADE

AUSTRALIAN

MADE

THE

AUSTRALIA

TIMES

Independent Media Inspiring Minds

We aim to inform, entertain,

teach, encourage, educate and

support the community at large by

facilitating communication between

all Australians. By providing the

opportunity for all opinions to be

shared on a single website.

WHAT’S INSIDE?

MELBOURNE’S R.A. PRINTING 8

INTERVIEW WITH ADELAIDE

GLASS DESIGNER ANDREA FIEBIG 15

INTERVIEW WITH ADELAIDE ARTIST

AND STUDENT OF MARINE BIOLOGY,

RENE CAMPBELL 25

FINDERS KEEPERS MARKETS 37

CONTRIBUTORS

COVER IMAGE

EDITOR

Kristie Giblin

Lauren Dougherty

SKIN by Andrea Fiebig

Lauren Dougherty

We must truly be The Lucky Country to

have escaped the recent Global Financial

Crisis relatively unscathed. We are a

country that produces quality products,

and amazing talent, but we don’t always

appreciate it. Sometimes it’s just easier to

buy products or use companies that we are

familiar with, even if they are owned and

operated outside Australia. Sometimes it’s

just too hard to nd Australian versions of the

things we want or need. Always, though, it

is worth the effort.

Australian Made magazine is dedicated

to showcasing Australian artists, businesses

and producers of quality Australian products.

With this magazine I hope to encourage all

of you to buy Australian whenever you can.

This month we take a look at R.A. Printing,

a Melbourne-based printing company that

print marketing materials of impeccable

quality. I was also lucky enough to

interview TWO Adelaide-based artists:

René Campbell, whose fascinating and

incredibly detailed drawings will soon be

making themselves at home in my study; and

Andrea Fiebig, a glass artist who produces

beautiful pieces of art, some of which are

stunning as well as functional, while others

are just stunning.

So settle in, grab some Haigh’s chocolates

or a Balfours Frog Cake, and prepare

yourself to want to buy at least one of

everything you see in this month’s issue.

EDITOR'S

NOTE

Lauren Dougherty

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Melbourn’ R.A. Printin

is setting a new standard in the

production of brilliant marketing materials

By Lauren Dougherty

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tanding in the doctors’ oce

the other day I perused a

stand of pamphlets, all trying

to interest and inform me on

topics ranging from colds and u, to

pregnancy and IVF. I remember looking

at them and wondering why they all

had to look so dull and basic. I could

have designed any one of them on my

computer myself using little more than

Word and clipart. They were all trying

to convey such important information,

information I needed, but none of

those pamphlets seemed to take their

job seriously. Of course, they’re just

pamphlets, and no one really cares

about pamphlets, right?

Fortuitously, later that same day I was

set the task of writing this article on a

Melbourne based printing company

called R.A. Printing Pty. Ltd. Just

as I was thinking that nobody cared

about the importance of well-designed

marketing materials, I was introduced

to a company whose passion for high-

quality printed materials has seen them

grow from a small Australian business

in 1977, to the market leader it is today.

I was sent a brochure, for R.A. Printing

itself, to examine before writing this

piece. Never before have I looked at a

brochure so intently. I’ll be honest and

say that I didn’t read a single word of

it at rst, as I was too enthralled by

the images; amazed at their colours

and clarity. The pictures themselves

were perfectly shot, but it was their

meticulous reproduction in the brochure

that really caught my attention. The

design and depth of colour was more

than you would expect from a brochure.

R.A. Printing Pty. Ltd prides

themselves on their ability to produce

many dierent premium and complex

marketing and corporate printed

materials. They have developed a

reputation for themselves amongst

blue chip design companies for their

Inspiring MindsIndependent Media

AUSTRALIAN MADE

abilities to eciently, and cost-eectively,

produce premium stationery items,

magazines, postcards, booklets (saddle

stitched or bound), yers, presentation

folders, coee table books, A2/A3

posters and small to medium size run

annual reports, and all to your deadline.

R.A. Printing offers their clients

a complete range of highly

specialised services, including:

On site photographic studio.

In house pre-press services.

Complete colour management

solutions (ISO 12647-2).

High resolution multi-colour

offset printing on both coated

and uncoated stock (250/300 line

or stochastic screen). Not many

printers can achieve high resolution

quality print on uncoated stock.

They can, they do.

FSC accreditation to SGS-

COC-005090 level.

Fully accredited security printer.

Managed cloud hosting and data

centre facility.

KOP Varnish –a specialty

RA printing process that is an

environmentally friendly alternative

to UV varnish printed on paper.

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R.A. Printing owes a lot of its success

to its satised clients. A survey

conducted by Bluefrog Marketing in

2011 showed that 50% of their clients

came from referrals, and that half of

all customers showed a signicant

willingness to refer others. In the same

survey, when rating their services,

R.A. Printing scored an impressive

8.4/10. Customers were also asked

‘How R.A. Printing’s oer is dierent

to other printers’, and their responses

were that the sta were reliable,

attentive, ecient, professional and

good communicators. They also

said that they received personal and

prompt services, and that the materials

produced were of ‘exceptional’ quality.

At last! A company that cares about

pamphlets as much as I do! The days

of poorly produced yers with Comic

Sans font and patronising cartoons

(what are we, children?) are over.

Finally, we have a company that can

produce artistic and beautiful materials

that can both inform and engage. R.A.

Printing recognises the importance

of quality marketing materials, and

they have the means and the talent to

produce materials of such quality that

half of their customers come through

referrals.

In case you needed one more

reason to use R.A. Printing, I would

like to mention that they also have a

strong dedication to environmental

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conservation. Their contribution to

sustainable development is achieved

through many initiatives, including

‘recycling, waste and energy reduction

wherever possible, sustainable sourcing

(FSC) and specialist handling and

disposal agreements’. Additionally, in

association with the Australian Solar

Group, R.A. Printing is aiming to be

100% solar powered by the end of

this year, which will likely make them

the rst printing plant in Victoria to be

exclusively solar powered.

So there you have it; a locally owned

and run Australian company that

produces such good quality marketing

materials that their business has thrived

for 37 years on word-of-mouth. A

company that not only takes seriously

things that other producers do not, but

one that also cares about its impact

on our environment and actively

aims to reduce its carbon footprint

and contribute to environmental

conservation whenever possible.

The importance of quality marketing

materials for every business should

never be underestimated. Not only do

premium printed materials inform your

customers, but they also say ‘we take

ourselves seriously’. Not every printing

company can guarantee a satisfying

result on a short timeframe, and not

every company can meticulously

produce high-quality, informative and

engaging materials. Australia’s own R.A.

Printing can, and they will.

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Interview with

Adelaid Glas Designer

Andrea Fiebig

By Lauren Dougherty

have been interested in glass

design ever since I saw it on TV

years ago. Watching the designers

manipulate the glass into beautiful

and complex designs was fascinating.

I loved the heat and intensity, and the

looks of total absorption on the artists’

faces, and I thought of how dicult and

challenging this medium of art must be.

I never looked at glass the same way

again. Whenever I look at glass designs

now I think not of just the nished

product, but of the powerful heat and

concentration that formed such a piece.

I fancy that I like glass designs because

of the intensity it represents to me.

Also, glass is shiny and I like shiny

things.

I came across the work of Andrea

Fiebig while researching artists for

this edition. When I found her website

(andreaebig.com.au), I immediately

started making a mental list of all the

pretty things of hers I should buy. I also

thought that I had better interview her

for the magazine and, thankfully, she

thought so too!

How in the Hell did you discover

something like glass design?

It was a total accident! Coming out

of school I wanted to study illustration,

and was looking at dierent Universities

and what they had to oer. At Monash,

in Melbourne, I stumbled into the Glass

Studio, and there were some students

blowing glass. I literally had to pick my

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jaw up o the oor. And that was it, I

had to make glass.

Where, and what, did you

study?

I studied at Monash University in

Melbourne. I completed a Bachelor

of Fine Art in 2005 and an Honours

Degree in 2006, majoring in Glass.

Then I had a few years where I

wondered if I would ever be paid to

blow glass, before moving to Adelaide

to undertake the Associate program at

the JamFactory Glass Studio.

What are the most challenging

aspects of glass design?

Oh gosh, where do I start! It’s such

an amazing material to work with,

but it denitely has limitations. It’s

very expensive, so the cost can be

quite prohibitive. It’s heavy, so size is

challenging. Dierent colours react in

dierent ways to heat, dierent types

of glass react dierently... you really

have to know your material.

Have you ever nished

something, and then just

dropped it immediately? That’s

something I would do.

Oh yes. Denitely done that!

How would a person go about

getting into glass design as a

casual interest?

There are lots of places that oer

classes and workshops, in both glass

blowing and kiln forming. The best

place to start is probably through

Ausglass, a national organisation that

promotes all glass related things in

Australia. If anyone is interested in

watching some glassblowing, the

JamFactory in Adelaide and Canberra

Glassworks in Canberra both have

viewing areas where you can watch

people work.

What career prospects are

there for a glass designer?

It really depends on what direction

you want to go in, and how hard you

are prepared to push it. I think it’s

denitely possible to make a living from

glass design, but don’t expect to get

rich o it.

Most of the glassblowers I know, and

I include myself in this, are basically

running two practices. One is making

studio work, which is what sells. We have

a design, and make the same object over

and over. This way the galleries know

exactly what they’re getting and it makes

it easier for them to order. It’s good for

us as makers, not just because of the

income, but also because it keeps us in

practice. An example of this is my Sweet

Apples series.

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The other side is making exhibition

work. This is really why we do it. I don’t

make exhibition work to make money,

I make it because I love it. These are

the individual, one-o pieces. They can

be time consuming and expensive, but

pay o in dierent ways. Studio work

isn’t going to get you recognised as an

artist, but exhibition work can.

Where can people buy your

work, and what kind of things

can they buy?

I have several stockists: In SA there

are the JamFactory shops, Art Images

Gallery and Red Poles Gallery. In VIC

there is Veronica George Gallery, Glass

Plus Gallery and Manyung Gallery. In

NSW there is Glass Artist’s Gallery, and

in ACT there is Canberra Glassworks

and the National Gallery. In QLD there

is The Sheil Collection. I’m always

looking to expand. Dierent galleries

will carry dierent work, some only

want particular items that t into their

style, and some only want particular

colours.

How can people keep up to

date with your work?

I have a website that I update with

new works:

www.andreaebig.com.au

Are you experimenting with any

new techniques? If yes, how’s

that going?

Yes, I’m quite excited about this!

I’m having a lot of work mirrored, so

one side will have a silvering solution

put on, so the piece eectively turns

into a mirror. What I’m interested in is

the light reecting, so I cut the other

surface of the glass. You can’t see your

reection in it, but the glass seems to

shine somehow.

Where do you nd inspiration?

My work is an exploration of my inner

experience. As a child and in my teens

I found drawing to be a very meditative

experience, I would be completely

absorbed in it for hours. In my early

twenties I began studying meditation

formally, and I began to explore these

experiences in my drawing and in my

art. I feel that the English language

just doesn’t have the words I need to

describe some meditation experiences,

so I do this through creating a piece

of art. Often I don’t know what I’m

making or why I’m making it, but I’ll

know that I just have to. Then through

this process the penny will drop and it

will help me understand my experience

better.

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What are you working on at the

moment?

At the moment I’m working towards

an exhibition at Art Images Gallery, on

The Parade in Norwood, SA. I feel like

I’ve done quite a bit of experimenting

and pushing of my own boundaries so

it’s very satisfying to see a body of work

come together like this. It’s also my rst

‘solo’ show, which is a big step for me.

Can people commission your

work?

Absolutely. I take commissions either

directly, or through any of the galleries I

deal with.

Andrea’s work will be featured in

an exhibition at Art Images Gallery in

Norwood, Adelaide, from July 4th until

July 27th.

Make sure you check out Andrea’s work

at: www.andreaebig.com.au

To nd more local artists like Andrea,

or to nd out where you can take

glass blowing classes or simply watch

the professionals do it, go to: www.

jamfactory.com.au

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The other day, while scrolling aimlessly

down my Facebook wall, the most

beautiful and curious picture of a tree

with a divided trunk twisted into a DNA

helix slid into my view. I loved it instantly

and sought out the artist to learn more

about them and discover more of their

work. The picture was ‘The Fabric of Life’,

and the artist was René Campbell, an

Adelaide-based bartender and student

of Marine Biology. Fascinated with the

incredible detail of her work, and very

pleased to learn that she is based in my

own hometown, I quickly requested, and

was granted, an interview.

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Interview with

Adelaid Artis an

Studen of Marin Biolog

Rene Campbell

By Lauren Dougherty

When did you rst start

painting/drawing?

I started drawing when I could rst

hold a pencil. Obviously at this stage

I wasn’t really sure what to do with

such a tool or what drawing was at

such a young age; I imagine it was a

very foreign thing. I was around three

or four years old when I actually recall

being able to scribble and doodle,

just as any child would. It was around

kindergarten, or just before, when I

actually started to observe the world

around me and draw basic gures.

Can you remember your rst

piece? If so, what was it?

I don’t remember my rst piece

specically, but I do remember learning

how to draw and nding out that it

wasn’t only something I enjoyed,

but was reasonably good at (for the

age of ve, of course). I would sit

down with my father and copy his

rather awesome cartoons of sharks,

snakes and lizards. I had a knack for

copying his style, and found myself

implementing this in my early work.

Nintendo characters such as Yoshi

and Pokémon, and creatures such as

dragons, became my main subject

for most of my drawings when I

was young. Often I just copied them

in their original poses, sometimes

more than once, but put them into

individual scenes. Occasionally I

would experiment with the pose or the

medium I used, to the point where I

could draw without reference.

What inspired you originally?

What, or who, inspires you

now?

My father’s drawings, dragons,

dinosaurs, reptiles and insects, video

game characters (Pokémon, Yoshi,

Spyro, Digimon). Now, pretty much any

of the artists that I follow on Facebook

or DeviantArt are pretty inspiring.

Things they do make me think, ‘wow, I

wish I could draw that!’ or ‘why didn’t

I think of that rst?’ I think my main

inspiration comes from nature and the

environment around me. Dreams and

music sometimes play a part as well.

Have you taken many art

classes, or are you primarily

self-taught?

I am self-taught, but I don’t deem that

as superior in any way. I could be much

better if I had taken art classes. In high

school, I did art as a subject and that

was as close to an art class as I could

get. I didn’t learn an awful lot and often

got bored of the things we had to do.

This actually held me back and it took

my art teachers several years to push

me out of my comfort zone in terms of

style, medium and subject. I have found

tutorials and art books quite rewarding

however, and owe a lot of what I know

(which is actually not that much) to

those resources.

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Do you think people can learn

to be artists, or is an artistic

personality something you can

only be born with?

The great thing about being Human is

our ability to learn and create. Anyone

can learn anything if you give it time

and practice. There are many great

artists out there who have little talent

but through practice and training are

just as phenomenal; just because

you’re talented, doesn’t mean you’ll

be any better at what you do. Some

artists use talent as an ‘excuse’ to

slack o, while those who are in-

training actually push themselves to

learn and improve their skills. Practice,

Perseverance and Patience, or ‘The

Three P’s,’ as I call it, are really a recipe

for success to anyone who is talented

or willing to learn in any area.

Your pieces are for sale, do

you have difculty parting with

them?

I actually haven’t parted with many

original traditional pieces of mine,

apart from a few at exhibitions and a

few that I’ve given away. I do feel a

little sad parting with them. Although I

have a digital copy of the piece, there’s

nothing quite like being able to hold it

and physically feel each stroke you’ve

made. But it’s a liberating thing I

guess, passing on what was an artistic

journey to someone else in hope that

they can enjoy it just as much.

What mediums have you

experimented with, and which

is your preferred?

I’ve experimented with quite a few

mediums, at least once. I have a thing

for pen, specically ballpoint. I also

enjoy felt pens, and coloured pencil,

and I love combining the two. I tend to

strictly use pencil and dry pastels only

for realistic pieces. Graphite is fun to

work with as well, but I nd charcoal

gets a bit messy. Digital artwork is

pretty awesome, and owning a tablet

is one of the best things I’ve ever

done. My least favourite mediums are

the paints; I enjoy acrylic the most

and then maybe watercolour. I’ve

never really tried oils as I’ve never

had the money or the opportunity

to do so. Painting is also the most

dicult; mixing colours, layering them,

and waiting for the paint to dry is

frustrating. I haven’t done it a lot so I

don’t really know how it works or what

I’m capable of, but I know I can do it

(just patience is the key). I have a new

easel in my room and am hoping to

take up painting once more in the near

future, but I have a lot to learn!

What is the purpose of your

art?

My art doesn’t really have a

‘purpose,’ other people tend to nd

more purpose and meaning in my

pieces than I do. Some of my pieces

reect biological diversity, and I try to

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evoke more environmental aspects in

my work (being a studying biologist, I

feel this is relevant to me). I’ve never

been big on portraying controversial

meaning or aspects in my work; I draw

because I like it and I can. Recently

however, I’ve been trying to branch out

and actually impose thoughtful ideas in

my art, but that’s a journey within itself.

Do you have a favourite artist?

If so, who is it, and why?

As stated earlier, most artists who

inspire me are any that I follow online.

I wanted to be a concept artist for

some time, so I tend to favour those

who work in that industry. As for the

classical, contemporary artists, I feel

ashamed to say that I know very

little about them (I didn’t do a lot of

art history or analysis in my past,

and many of my fellow artist friends

get annoyed at that). I’d have to say

M.C. Escher; his work is phenomenal.

Incorporating mathematics and

physics into art is mind-boggling. I

have yet to see many artists that can

do it since, at least not without the

help of special programs.

Do you believe that artists have

a duty to inspire and/or provoke

others?

Please explain your answer.

Art is subjective to both the person

who makes it and to those who view it;

it is rather loose in denition and I’ve

never seen a straight answer. It can be

strictly for aesthetics or for provoking

some rather substantial messages

and emotions. Nowadays, this gets a

bit silly, the line between art, drawing,

illustrations, ne-art etc. Art will always

be a reection of one’s freedom to

think, analyse and create, which in my

opinion, is always a choice and not a

given.

Can people commission your

work? If so, could you give an

estimation of price ranges?

At the moment, no, however I do

currently have a print account in

the meantime. I wanted to take up

commissions but became rather lazy

and selsh when it came to drawing

things I did not want to draw, or within

certain time restrictions. Throw in full-

time university and a job in hospitality,

and whatever time and motivation is

left becomes very little. However, I am

hoping to open commissions soon.

The demand for my artwork has grown

immensely and I’ve had some great

oers, so it’s denitely something I

am considering in the near future.

Prices for originals would depend on

the materials used (obviously more for

traditional work), the time taken and

the amount of detail.

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Would you be interested in

designing cover artwork for

novels?

It’s something I’ve been oered, but I’d

probably only accept it if I can actually

be immersed in the story. I love reading

(and I loved writing stories in the past),

so being able to imagine myself in the

author’s world would make the cover

artwork not only easier to create, but

more meaningful as well.

What is your opinion of

controversial street artists such

as Banksy?

Art is controversial, and there’s nothing

wrong with that. I enjoy street art; I

think it can be very well done and can

portray some interesting aspects about

the everyday, modernised and urban

world of which we live. I know many

people are opposed to it because they

automatically label street art as ‘grati’ or

marking property, but I disagree (tagging

and vandalism however are completely

dierent). Street art is just an entirely new

genre in the art world. The only dierence

is that our streets are the canvas, and

I nd that street art portrays the uid,

dynamic evolution of our everyday lives

quite well.

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Independent Media

René’s work can be found and

purchased from several websites,

including DeviantArt and Society6. All

the links to which will be at the end of

article. On Society6 you can purchase

a variety of pieces in prints, on

canvases, in frames, or even on mugs,

hoodies, phone cases and more.

Inspired by René’s success I think

I shall try and sell some of my own

artwork. If you’re interested, I have a

doodle here of Gareld wearing a hat

on a serviette. If you like, I can give him

a lasagne, too.

For more of my art, stay tuned. For

more of René’s, visit:

Deviantart: http://renecampbellart.

deviantart.com/

Facebook: https://www.facebook.

com/pages/Ren%C3%A9-Campbell-

Art/238074786252637?ref=hl&ref_

type=bookmark

Tumblr: http://rene-art.tumblr.com/

Tumblr (portfolio only): http://

renecampbellart.tumblr.com/

Society6: http://society6.com/

Reneart

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ver since I accidentally

stumbled upon the Finders

Keepers Markets back in their

early days, I haven’t missed

an opportunity to explore what these

quaint stalls have to oer.

Being a big advocate for buying

local, these markets make this not

only easy but certainly appealing.

Gathering together designers and

crafters alike from all over the country

and presenting them as one big arty

family at The Royal Exhibition Building,

a market lover’s dream.

Although the layout may leave

something to be desired, with the

many rows of stalls making it hard not

to miss perusing a single business,

that may be due to the increasing

demand for a spot.

This year’s rst Melbourne market

(two are held in Melbourne each year)

has seen an expansion opening up

a whole new back section and even

more talented crafters as well as some

workshops helping you to create your

own pieces to take home.

It’s not all about new craft, with

Frankie Magazine heading up the

Vintage section, and as usual they

brought along the iconic Betsy the

caravan alongside many other vintage

retailers.

There was plenty to keep you

nourished while you browsed with

food trucks out the side of the building

along with coee doing a roaring

trade, and a stage in the middle of the

building providing entertainment.

nder Keeper

Market

By Kristie Giblin

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Studio Cockatoo

I was absolutely blown away with the geometric patterned animal and portrait

prints by Studio Cockatoo. The Brisbane based company have a fantastic

concept which is really eective. They oer quite aordable art as well, and even

create custom prints. Needless to say there will be some of these appearing in my

home in the near future.

Some of the fantastic Australian

Businesses which caught my

eye include:

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Urban Cartel

If you are the kind of person who likes pastel coloured cloud shaped ceramics,

then Urban Cartel have got you covered. They also do plates, milk bottles and

much more. Quirky yet useful, now that’s my kind of art.

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Hart + Barnes

I’m a sucker for Melbourne themed home wares and Hart + Barnes’ Melbourne

suburb prints t the brief exactly. With pillows as well as varying sized prints, the

company also make other styles of cushion covers to decorate any modern home.

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Paper Love

Stationary, as most things, is coming back into fashion and Paper Love are

ready to full all your gift wrapping needs. If their logo is anything to go by then

you know they certainly have an eye for style.

Emily Green

With jewellery her main product, Emily Green has also done a collaboration

with Dale Hardiman to create Up Up, a beautiful Pendant Light manufactured in

Melbourne. A very popular stall and so it should be with beautiful printed scarves

and of course amazing jewellery.

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Finders Keepers Markets (http://www.thenderskeepers.

com/markets.php) happen in Brisbane, Sydney and

Melbourne twice a year. If you can’t make it to a market

then be sure to check out their blog (http://www.

thenderskeepers.com/blog/) for detailed interviews with

their great artists.

UPCOMING MARKET DATES

MELBOURNE HELD AT THE ROYAL EXHIBITION BUILDING:

Spring/Summer - Friday 17th (evening) & Saturday 18th October

BRISBANE HELD AT THE OLD MUSEUM:

Spring/Summer - Saturday 8th & 9th November

SYDNEY HELD AT THE AUSTRALIAN TECHNOLOGY PARK:

Spring/Summer - Friday 12th (evening) & Saturday 13th December

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