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I’ve recently become a convert to Myspace (as usual, hopping on the bandwagon when it has already just about passed over the horizon!) Anyway, I’ve found it an interesting source for creative people demonstrating their talents, some of them have even been kind enough to answer a few questions I’ve thrown at them out of the blue, and let me transcribe their responses right here on the little ‘ol blog of mine.

First victim is Adelaide Illustrator/Designer Eugenia Tsimiklis. I was really impressed with her beautiful sinuous illustrations and pattern work on her attractive Myspace page (making your Myspace page look hald decent is a task in itself!) Eugenia graduated with a Bachelor of Visual Communications (Graphic Design and Illustration) and moved to London from Australia in 2001. After working as a Graphic Designer in an Architectural firm, she then turned her hand to fashion textiles. As a textile designer for womenswear her textile designs have been seen on a large variety of labels from high end designer labels right through to high street labels. She worked for a London studio initially and is now freelancing as a textile designer and illustrator.

She has worked on a variety of fashion graphics projects for 33south, FATAIM and theworldchico. In addition her illustrations have been featured on the cover and several issues of The Big Issue, The Sunday Telegraph magazine, Beautiful Decay, neomu, Noise, etisoppo, pagesonline, Moody Buddha, in an exhibition at the Australian National Gallery and on a Channel 4 documentary, The Thin Club.

Chris Bowden: When did you first decide to become a designer. Was there the proverbial ‘pivotal moment’?

Eugenia Tsimiklis: Drawing and creating images are the things I’m most passionate about. I love patterns, decoration and colour. My way of working is at odds with most of the things I was taught at University, so it was only when I was approached to do freelance projects that I realised that there was a market for what I do. When I started working as a textile designer in London is when I became confident in my ability to be commercial as a designer.

CB: Who are what inspires you at the moment?

ET: I find travelling and leaving my comfort zone and being in a bustling city gives me a different perspective.

CB: Which of the projects that you have worked on in the past are you most proud of and why?

ET: Four portraits of girls with anorexia for a documentary screened on Channel 4 in the UK called The Thin Club.

CB: What do you do to keep yourself motivated?

ET: Try not to take rejection personally and stay optimistic.

CB: How do you approach a new project? How do you overcome the ‘dreaded blank page’?

ET: I look through as much visual material as I can, from a variety of sources, then incorporate small aspects of what I consider successful design with the image I have in my head, to make it my own.

CB: What are some of the unique challenges you’ve come up against plying your craft in a small town like Adelaide (and finding work!) ?

ET: I think the biggest challenge is coming up against the lack of industry and resources to do something that is frivolous and fashion oriented.

CB: What project and, or client that you haven’t worked on would you love to (go to town, think of this as your ultimate ‘fantasy assignment 🙂

ET: I’d like to work for a label that I love and be sent on global assignments as ‘inspiration trips’ every season to source what people are wearing in different parts of the world and report back and base my collections on my finds. (This is a reference to a job I had an interview for and didnt land when I was in London. No, I’m still not over it.)

CB: What music have you been listening to lately

ET: The Pre-sets. I drive my husband mad by listening to the same cd’s over and over. Repetition is a good thing. I design patterns afterall.

I always find it interesting the places a degree in Visual Communication can take you beyound the obvious 9 to five at a design firm, as Eugenia ably demonstrates with her work .Thanks once again to Eugenia for her time, you can see more of her work at her website here.


A couple of weeks ago I got myself out and about to a weekend of beautiful music and amazing atmosphere at Adelaide’s now annual Womad Festival. Now I loves me some World Music, this from possibly the whitest guy in Adelaide! Anyway, as usual at the event, it’s not long after being blown away by whatever throat singers or fife players are on this years bill, until I find myself at the onsite music retailer, flicking through the albums of the various performers. It was while perusing that I came across the latest release from Chinese performer Guo Yue, who was usually released through Real World Records, looking at the cover my immediate assumption was that this was no longer the case.


A little background information for the uninitiated. Real World Records was established by performert Peter Gabriel to provide talented artists from around the world with access to state-of-the-art recording facilities and to publicise them to an audience beyond their immediate geographic region. This was a fantastic idea, and a rare example of someone who was famous and wealthy actually using that fame and wealth to do something interesting and worthwhile. What drew me originally to Real World’s albums was a singular and beautiful tratment to their cover designs. Whether the cover featured a stunning portrait of the perfomer or, more often, an abstract representation of the music, they all shared one feature. The covers featured neither artist and album title credit. This was a brilliant and subtle house style, what better way to emphasise that the music crosses geographic, cultural and language barriers than to feature no type on the front at all?


So the thing that surprised me about the latest Guo Yue release? It has the artist’s name and album title (in English) on the front. When I went to the Real Word site, I discovered this wasn’t a one off anomoly, all of their latest releases were the same. It’s interesting to perhaps speculate on how this change in house style may have come about, though it’s probably nothing more interesting than a demand from suppliers and artists themselves for better recognition on the packaging.


To me it feels like a great loss to the oft-times pretty boring music design landscape. The CD designs themselves are still ok, but they have now somehow lost that original allure and mystery to be discovered in the music beyond the cover. I’ve gathered a gallery of some of my favourite covers through the years here. You can check out their latest releases in their catalogue if you want to compare.