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Back to page 1.
Milne: Natural history is, I know, another of your favourite themes, and the Wildlife designs you did for Jersey in the early years of its postal independence are excellent examples of the charm of your work in this area. Have you always liked animals? What are your favourites? And have you pets of your own?
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Toombs: I have always been passionately concerned for animals and the environment and belong to one or two conservation movements here.
It was, indeed, a great joy to depict animals from my favourite zoo, the Jersey Wildlife Preservation Trust (now the Durrell Trust), and my aim was to highlight the great work the Trust is doing for the safe-keeping of endangered species.
I think my favourite creatures are cheetahs, dolphins, humpback whales, barn owls, and avocets. I also love cats and have one of my own, Lucy, a little tortoiseshell with quite a lot of Burmese in her and one of the sweetest-natured cats I have ever known. Note: See Lucy with Ms. Toombs at the top of the previous page.
Milne: In the early period, you also produced designs for six countries commemorating the death anniversaries of Robert Louis Stevenson and Charles Dickens. The history theme is also one, I believe, you enjoy. Why? And where do you get the inspiration usually for such designs? Note: See William Bligh stamp on the previous page.
Toombs: As to the Dickens and Stevenson issues, my inspiration came from reading the books! Both writers were masters at creating atmosphere and vivid pictures in one’s mind.
I enjoy history subjects and am very keen on TV programmes such as “Time Team” and “Meet the Ancestors” (two popular history shows on UK TV channels). Also, I love costume drama such as the highly popular “Pride and Prejudice” of a couple of years back.
Milne: I hope this is not indelicate but, with your being a Brit, why haven’t we seen a GB stamp from the Toombs’ stable? Is it because submissions haven’t been put forward or requested? Or is it, conversely, because you haven’t chosen to tender any designs for Royal Mail’s approval? If the latter, why? And, if the former, what did you submit that was rejected?
Toombs: This is a very tough one. I have, indeed, submitted several designs for the UK Post Office over the years, but, for some reason, none has been accepted. Perhaps my style of illustration is not in harmony with their own ideas.
Designs which I submitted were for: Ralph Vaughan Williams’ Centenary (speculative), Tropical Explorers, Musicians, and the Duke of Edinburgh’s Awards Scheme. The latter was in 1979. Since then I have had no contact at all with the UK Post Office.
Milne: I know I may sound biased, but it is their (and UK collectors’) loss!
As one of the latter, can I humbly make a plea: “Try again!” I am 100% convinced that, with your exceptional God-given talent, there is no door that cannot be broken down! Out there, somewhere, there is always an eye that can be opened and an ear that can be turned. Jennifer, please, believe me!! British stamps NEED the creatively-talented shot in the arm that you alone can give.
Moving on, (but I hope you were listening!) how long does it take you, on an average basis, to move from having been given the commission to produce the final design? And, in specific terms, what is the shortest time you were allotted — by whom and for what issue — to produce a set’s design?
Toombs: On average, the time-span from initial ideas to producing finished artwork takes roughly 4 – 7 months, depending on how far-flung the principals (clients) are. A job for Pitcairn would obviously have taken far longer than, say, one for St. Kitts. Also, much depends on the postal administration and how thoroughly they go into matters. Conversely, the shortest-ever time-span I had was on a job from the Crown Agents in October 2000 for Belize’s Christmas 2000 issue. This only took 2 weeks from rough to finished!
Milne: I know you worked with Clive Abbott for the se-tenant sets of stamps featuring the Royal Beasts to honour the 25th Anniversary of the Queen’s Coronation. How easy, or, conversely, challenging is it to work in collaboration with another designer? And for that omnibus issue, which of you contributed what to the final design?
Toombs: I think it depends on my co-designer!
Milne: A very professional and politically correct response, Jennifer!
Toombs: Anyway, working with Clive was a joy — simply because of his sheer good humour, brilliant expertise and all-round genius. He knew exactly what he was doing at all times.
When it comes to the breakdown, I was responsible for the overall concept — of the “sculptural” effect on a rich, heraldic background, whereas Clive provided the vignette between the two sets of se-tenant stamps. He can draw horses brilliantly!
He also chose the lettering, whereas I provided the artwork for the stamp matrix, and we each worked on a number of countries. Clive did 11 and I did 9.
Clive also designed the basic First Day Cover, whilst I designed the handstamp and prepared a special publicity leaflet for the issue.
Milne: Sounds like a great team effort, which showed in the excellence of the end-product. Congratulations to both of you!
In the stamp design business, whose work do you personally respect and admire the most? And why?
Toombs: I think my favourite has got to be Clive for the reasons stated above.
Other designers I admire greatly are Derek Miller, David Gentleman (who does the most superb watercolour work); [Czeslaw] Slania, for his brilliant engraved issues; and Tony Theobald, who is a master in drawing transport, especially planes. Also, I have a great admiration for some of the Dutch and Australian issues which reflect very uncluttered and superb designs with great impact.
Milne: In the same mode, what is your favourite GB stamp design and why?
Toombs: I don’t think I have any one favourite GB issue. Gentleman’s Abbotsbury Swannery comes very high on my list, as does Beningfield’s Butterflies in more recent times. Further, Gentleman’s superb 2000 Greenwich Meridian vies for top place with the entire Christmas 2000 issue, “Spirit and Faith.” Note: Click here for more about the Abbotsbury Swannery.
Milne: It's amazing, Jennifer, how alike we are in our tastes and choices ...... which, probably, just goes to reflect those said designers’ overall appeal.
How do you personally manage to keep your designs refreshed and different from those that have gone before?
Toombs: One thing I try to avoid, but find it very difficult, is to become stereotyped. It’s like wearing a bell ’round one’s neck! I am on the lookout for new ideas and techniques all the time, but then the subject seems to dictate to me how IT would like to be presented. I may end up in a style similar to one before but which shows off the subject matter to its own advantage.
But wherever I can, I like to ring the changes!
Milne: And without being over-sycophantic, you do it well!
Your freelance design company is called Saelig Design. (I hope that any and all who are reading this and who are connected with upcoming GB issues note the name!) Is there any special significance to it?
Toombs: I was looking for something unusual for my company and found this odd word. Later I found out it’s an Anglo-Saxon word meaning “Good luck and happiness.” The German word seligkeit is very similar.
Milne: I know that, as a free-lance designer, you do work other than in the stamp arena. Can you give examples of some of that work and of which you are most proud.
Toombs: Although I feel stamp-designing is my main forte (and I feel safest in that mode), I have done a lot of other work. Examples are: watercolours, often for exhibition work; exhibition and display work; commissioned portraits of people, animals and people’s houses and gardens; greetings cards, e.g., Christmas and birthday; business cards; signs for three Suffolk villages, including Saxmundham; and photographic scenes for “Daily Word,” a Unity magazine (UK version).
I’m also fascinated by the possibilities of CAD (computer-aided design) and have produced a few items in this medium, one for a U.S. client. My own Christmas card this year was 100% CAD — ultra-modern!
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But one item of which I’m particularly proud is my first effort at book illustration. This was for a book about an unusual cat called “Mackerel,” who used to go walkabout! His owners (the authors, Katharine and Maurice George) used to bring him to the Aldeburgh Festival, on the East Anglian coast, and I was asked to provide illustrations for a book they were planning: Mackerel the Travelling Cat — By the Sea. This has sold very well, and a second book is planned about his adventures in the Lake District of northwest England.
Milne: How would a GBCCer get exposure to this new book illustration venture of yours?
Toombs: Details of the Georges’ book with samples of my illustrations can be found at the web site: http://www.thetravelingcat.com.
Milne: Away from stamp designing, you clearly work in a wide range of design and illustration techniques from miniature and watercolours to photography and computer-aided design. Which is your favourite and why?
Toombs: I don't seem to have any one favourite. All the techniques you outlined are challenging and enjoyable!
Milne: A question of personal curiosity. Just as I always tend to use both my middle initials, I have observed that you most often also use your middle initial too. What does the “M” stand for?
Toombs: Mary.
Milne: Behind your name you also often list your professional qualifications, NDD, MCSD and FRSA. For the benefit of the non-UK readers of the “Chronicle,” can you please explain what these initials stand for and where you earned these qualifications?
Toombs: NDD stands for the National Diploma in Design, which I gained after three years at the Watford School of Art.
MCSD means that I’m a Member of the Chartered Society of Designers, an organisation set up to promote excellence in all aspects of design.
And FRSA signifies that I’m a Fellow of the Royal Society of Arts, the world-famous, long-established organisation, based in London, promoting knowledge in all fields of art, science and commerce. There is also a very strong American link.
Milne: I know a lot of GBCCers would want to know if you are a stamp collector, and, if so, what you collect.
Toombs: To an extent I am, but I’ve had to cut down quite drastically in more recent times, as space is at such a premium now. Basically, I collected GB until 1990; also Pitcairn Islands, until I stopped designing for them; certain religious issues, especially manuscripts; and a few items of musical interest. Now I’m really consolidating my GB collection.
Milne: Along similar lines, do you keep detailed records of all the 200+ sets you've designed?
Toombs: I have one or more set(s) of every stamp issue I’ve designed and if I have cause to find out anything about any one issue, I have that marvellous “bible” to refer to: “Toombsiana Topics” by Eric Waldock. He is a good friend who, having fallen in love with my first “Handicrafts” issue for Pitcairn, set about compiling a checklist of all the designs I have ever done! It is a work of sheer dedication, and I for one find it extremely helpful and interesting.
Milne: Finally (you may be glad to hear!) and without wishing to be intrusive, a host of questions about Jennifer M. Toombs, the person.
Firstly, where were you born and educated?
Toombs: I was born just outside of London at Isleworth, across the Thames from Kew Gardens.
Later, my parents and I moved to Watford, a town northwest of London, where I spent my childhood educated at Bushey Grammar School (an excellent High School) and then the School of Art at Watford College of Technology. This was basically a course in graphics and I had a marvellous tuition in drawing and painting, photography, typography, 3-D work and printing. I’m only sorry CAD wasn't around at that time!
Milne: Have you siblings?
Toombs: I have two sisters. One, Elizabeth, is married and living in Kenya where she is helping her husband run a new school set up by Kipchoge Keino, the great athlete, for local children. My other sister, Helen, is married to a priest and living in the West Country. Both have very busy lives.
Milne: And, like yours, clearly lives of great fulfillment!
As a person, are you quiet or outgoing?
Toombs: I think that on the whole I’m fairly quiet, thanks to the fact that I do a very solitary job. I used to be extremely shy, but have overcome this, thanks to giving talks … plus, I used to teach Yoga!
Milne: Away from designing, what are your favourite pursuits?
Toombs: My favourite hobbies are gardening, bird watching, walking, going to concerts (and playing the piano), Yoga, model making, stamp collecting (see above) and photography.
Milne: With all of those activities in your life, Jennifer, how do you find time for work?!!!
How long have you lived in Suffolk and what brought you there?
Toombs: I’ve been here for 20 years now, and not regretted one minute of it! It was the Aldeburgh Festival which started it all off. In 1977, the year after our great composer, Benjamin Britten, died, I heard a lot of his music, was absolutely knocked sideways by it, and I was curious to find out what this part of England was like that inspired it so. I came with a friend to the Aldeburgh Festival that year and fell head over heels in love with the place. The scenery is stunning with wonderful skies and seas. Since I was a free agent anyway, I was able to settle wherever I wanted within some sort of reach of town. Three years later I moved in to my present home, about 6 miles inland from Aldeburgh.
Milne: Jennifer, that gloriously enthusiastic response has given me an inspiration. Since 1977 was exactly 25 years ago, why not give vent to your creative juices once again and come up (for submission to the Royal Mail) with a series of stamp designs to celebrate the 25th anniversary of Britten’s death? Can you detect that I DO so desperately want you to add a GB stamp set design to your glowing resume?!!!
Now tell me more about how you have contributed over the years to the Aldeburgh Festival.
Toombs: Well, it’s true that I've done a lot of work for the Festival and Aldeburgh Productions (as it’s now called). One of the first was a philatelic item: a First Day Cover to honour the 70th Birthday of Sir Peter Pears, the great tenor, who was Britten’s lifelong companion and musical partner. I designed the cover using a wonderful bronze head by Ehrlich of St. Peter, and showed a line of Britten's music along the top — a brief extract from “Peter Grimes.”
Other items I’ve done for AP were sets of postcards and notelets showing watercolours of local scenes, each with some of Britten’s music incorporated (proceeds going to the School for Advanced Musical Studies). I’ve also done exhibitions for AP and proceeds from the book I alluded to in an earlier response, Mackerel the Travelling Cat — by the Sea are going towards Aldeburgh Productions. It’s lovely to be able to contribute, even in a small way, to such a superb organisation, founded by my favourite composer.
Milne: To close, back on a philatelic theme, I noticed from my recently-received copy of Jersey Post’s Philatelic Bulletin that you have another Toombs-designed issue due for release by them on April 16th. Can you elaborate?
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Toombs: Well, I’m sworn to secrecy about the exact details of the issue until its release, but I can confirm that it is a five-stamp set marking the Centenary of Jersey’s La Moye Golf Club. You'll recall that I did a similar set in 1978 honouring the Centenary of the Royal Jersey Golf Club. Note: The 1978 issue is shown above.
After the early independent-era issues that you have alluded to earlier, I did nothing for Jersey when Mike Orbell’s successor took over. But then, after he retired and Andree Valentine assumed the mantle, I was invited to produce designs for the 1996 Europa “Women of Achievement” issue and the 1997 Europa “Legends” release.
Milne: And, admit it though you may not, that’s what you, too, have been, Jennifer, in the stamp design world those last three plus decades — a legend!
On behalf of the entire GBCC membership, but particularly myself, thank you for having taken pains to answer all the foregoing questions with the dignity and professionalism that have been your trademark over the years.
I hope that this interview, one of the most enjoyable that I have done, has allowed you to make new friends and, hopefully, too, influence people (like the Royal Mail’s Stamp Design Selection Committee! As you can see, I never give up!).
Thank you and good luck in all your future endeavours!
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| Last update: Monday, April 23, 2007 |
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| Copyright © 2007 by Great Britain Collectors Club | ||