Award win­ner

Lisa Baudry.

Homestyle New Zealand - - CONTENTS - IN­TER­VIEW Alice Lines PHO­TOG­RA­PHY Michelle Weir

Hav­ing grown up an arty kid, Lisa Baudry saw her first ‘real’ paint­ing (with brush­strokes, not a re­pro­duc­tion) when she was 17, on a class trip to an art school. It made a big im­pres­sion and there was no go­ing back – she was hooked.

Lisa, how did you come to be work­ing

as an il­lus­tra­tor? Af­ter study­ing graphic de­sign, I got jobs paint­ing ce­ram­ics and work­ing as a de­signer for Auck­land’s Lopdell House Gallery – now Te Uru Waitakere Con­tem­po­rary Gallery. I took on my first com­mer­cial graphic de­sign role in my 30s, then went on to es­tab­lish my own stu­dio, do­ing il­lus­tra­tion and graphic de­sign for a range of clients. When my daugh­ter

was born, I took a break, then moved into ed­i­to­rial il­lus­tra­tion and home dé­cor de­sign when she started pri­mary school.

What types of jobs are you usu­ally

com­mis­sioned for? Most re­cently I’ve had some ed­i­to­rial com­mis­sions through lo­cal mag­a­zines and worked with a pub­lisher do­ing their book covers and de­sign work. I’m also start­ing to get op­por­tu­ni­ties to de­sign prints for use in ap­parel and home dé­cor. What was your in­spi­ra­tion for the Wilder­ness col­lec­tion you cre­ated for your Bolt of Cloth Tex­tile De­sign Awards en­try? Mostly New Zealand rain­forests. There’s a stand of bush at the end of the road I live on, so I took a few leaf sam­ples, then painted them in my stu­dio. Our own na­tive gar­den was also a source of in­spi­ra­tion – one of the co­pros­mas I walk past daily fea­tures in the col­lec­tion. Did your draw­ings have to evolve much to work as tex­tile de­signs? The col­lec­tion I sub­mit­ted was slightly dif­fer­ent, with more coral and salmon pinks. Bolt of Cloth know what their cus­tomers like, so this helped guide the final colour choices. We printed sam­ples of a num­ber of de­signs and colour ideas I had, then chose colours their cus­tomers love. Ap­par­ently robin-egg blue is very pop­u­lar; in fact, a room in my own house is painted in Re­sene Robins Egg Blue from one of the Karen Walker col­lec­tions, and I never get tired of it.

What projects do you have com­ing

up? There are new fab­ric de­signs in the works, which is very ex­cit­ing. I’d love to de­velop more tex­tile col­lec­tions and I dream of one day work­ing with some of the big names in fash­ion. I made a paint­ing of a but­ter­fly wing two years ago that was al­most ex­actly the same as a print Marni had in their Fall 2016 col­lec­tion, so I took it as a sign to keep go­ing in this field. I hope to ex­hibit at some tex­tile and de­sign trade shows in Europe in early 2019 and see where it leads me.

RIGHT & OPPOSITE The win­ning tex­tile de­signs have been trans­lated onto li­nen-blend cush­ion covers by Bolt of Cloth. Lisa wears a skirt by Beth Ellery; she de­signed the manuka flower print ex­clu­sively for the fash­ion la­bel. BE­LOW Lisa spends a lot of time work­ing with black ink. “I like the gra­da­tion of tone I can get, and it’s also per­fect for scan­ning to con­vert to dig­i­tal art. My dig­i­tal tools are as es­sen­tial as my tra­di­tional ones. I work up a lot of painterly tex­tures and use them in con­junc­tion with draw­ing and ink work.”

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