limited edition prints from posters

Following the success of my four posters for London Transport Museum, currently on the network of London underground stations I have been asked by Michael, the commissioner to edition the designs as screen prints. I jumped at the opportunity, and embraced the task!

This has been an interesting challenge because although the artwork for the posters was made using paper cutouts, one great joy of digital print production means you don’t have to separate each colour to print; CMYK does it’s thing. However, screen printing requires far more consideration of the order of colour on each of the layers as well as registration – the accuracy of each colour layer when printing. Overprinting can result in muddy colours if not fully considered. For the editions of prints I made some artwork adjustments on Adobe Illustrator enabling me to create the positive artwork for each of the four colours in each print, ready to expose photographically on the screens. You can see in my composite image, top right, the black print on acetates which are the screen positives, that I used to expose the images.

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I love mixing colours to match my references and I take pride in not using colours straight from the pot, but to always see the nuance of hues. I make colours darker using purples and greens, rarely black. I used the final posters to get the right colours, and daylight is always essential. Ink and paper surfaces always give different qualities to contend with too. The final colours are certainly rather bright! Screen printing on paper is also very different to screen printing on fabric, so you have to get your head around the differences including remembering to flood your screen (pulling a layer of ink across) between each print, and using the vacuum on the print bed (to hold the paper firm).

However tired I am, when I am printing I am absorbed in the process – rarely noticing hours passing, and missing the need to feed. This is a good thing as my week as been ridiculously busy on all sides. Printing requires systematic thinking, and at least one clean hand. Preparing screens, mixing colours and registering each colour on the acetate first all needs to be organised. I love it when I’m in the rhythm of editioning.

A deadline to hand the first print from each edition to the commissioner this weekend focused the mind, and when trimmed, signed and wrapped I was really proud of the prints. I was even more pleased when I met up with Michael to give them to him. He appeared to be joyfully moved by the results – holding one print up to the fellow coffee drinkers in pride… phew! They are off to be framed and auctioned at a London Transport Museum event at the Victoria and Albert Museum later this week.

This whole project has taken so many months (years) to come good, but throughout the process I have felt trusted by Michael to do what I do best. He has great confidence in his choice of designers spanning the years, and allows us to get on with the job without interfering with the outcome. His twenty plus years of commissioning poster designers has led him to influence the direction of graphic artwork on London underground, creating the archive for the future through the choice of creative hands and minds, but not by telling the designers what to do. It takes trust and judgement on his part, but in turn I think I’ve created my best work yet. In the many conversations over these years I’ve had with Michael he listens, he wants to hear my opinion on things; we have good discussions – he knows about a lot of things. He also often gets carried away with future ideas and possibilities – I like that, we should all get excited by ideas. Thanks Michael!

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poster proud

Every designer is likely to have a goal or two, a particular ambition to aim for. Last week I reached one of mine… I have designed posters for London Underground. They are up on the system as I write. I’ve been bursting to share the prospect that this may happen for several years, and now it’s real!

The underground poster archive at London Transport Museum is full of great examples of graphic design, with work by my heroes such as Edward McKnight Kauffer and Abram Games. These designers have inspired me in my quest to explore visual communication through print and pattern for as long as I can remember and now my design work is on the network hopefully catching the eyes of commuters in London, as theirs did.

I was pleased to be given the brief of ‘Parks and Gardens’ and was keen to move the visual qualities on from my Plot to Plate collection of kitchen gardens and parterres, although you may recognise in poster 3, ‘Community Gardens’ some of my motifs from that time. I have continued to play with elevations and perspective, while giving a polite nod to one of the other poster giants, Tom Purvis, whose poster I’ve had on a wall in our home for more than a decade, enjoying it every day. His series for LNER, ‘East Coast Joys’ appears to be made from cut out paper, the picture is made from flat colour in bold shapes. Having used this method for my commission for the Barbican last year I was keen to explore this again. You can see in my first cutout sequence I did begin to connect each poster to the next, as Tom Purvis had in his 6 LNER posters but I found this limited the scope for each poster composition in this instance.

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I began by gathering lots of imagery by making drawings and taking photographs and considered four different approaches to parks in London, one for each of the posters, from traditional activities such as rowing, to pitch & putt and the formal model boating lake. I wanted to create nostalgic content combined with a contemporary aesthetic. I remembered a hot day rowing on the Serpentine with a friend, I thought of many visits to Brockwell Park and all the different aspects of the ‘rooms’ it has within it. Greenwich was also an obvious one, Clapham Common and Hampstead Heath too. The posters represent lots of different aspects of parks, not four specific ones, and only one suggests a particular skyline looking across at the city.

Once the initial ideas were set I began to cut out the posters as general compositions, as well as single details / motifs to add. I combine both traditional drawing skills and digital manipulation in my practice, and this is how I worked here, scanning in paper drawings (cutouts) and subsequently working in Adobe Illustrator for final compositions / print artwork. I was able to make changes as required, including colour and motif placement options.

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As a designer I’ve always loved working across different surfaces and products, working with the industry experts in order to learn the best approaches and pitfalls of each context. Posters are large, but someone may look at it for less than a second… it needs to grab attention without being noisy. Large areas of pale colour might encourage graffiti… edges are as important as the centre, and so on. For people who have known my work for many years the look of the posters might not surprise, but my more recent work has been much more graphic, and understated so maybe some of you may not see these as so clearly of my handwriting. Let me know what you think!

Once I was told the posters were going up I had to go and find one. Luckily I was in London for the Design Festival so with wide-open eyes I took to the system and eventually found my first one at Embankment. I’m not sure I can put in to words what that felt like – I wanted to point and shout they were mine! The ticket barrier chap kindly took a picture of me alongside ‘playing a round’. Later that day I came across two more at Euston, and friends have let me know their sightings too!

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Design projects can take a long time to get to fruition, it is not unusual for years to pass. This can be frustrating when you want to shout out and tell everyone what you’ve been doing in the studio each week. I am always mindful of what I can share on social media, respecting my clients who might want to have control over a specific product launch. Now the posters are up I’m delighted and proud to shout about it… let me know if you see one on your travels!

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You can also buy them from the London Transport Museum shop.

Summer gold

As the weather turns I always feel a sense of sadness for the summer that is over. The start of term arrives and soon it is coat weather, and lights on to read in the evening.

I have taken many photos over the summer, some for projects that are taking shape and some for my archive, waiting for their turn. These two photographs go rather well together to remind me of the warmth of summer and the beauty that is East Anglia.

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Top image is from inside the light house at Southwold, Suffolk, and the second one is a view across the marshes at Stiffkey in Norfolk. Each a special place in my heart.

Pattern appreciation at the Whitworth

The Barbara Brown exhibition at the Whitworth in Manchester is really worth catching, especially if you like patterns.
The layout of the gallery enables an overview; the broad visual statement of the textiles designed by Barbara Brown during the 1960s and 1970s, to be seen straight away and makes for a striking sight. Large-scale pattern in different colour-ways jostle for attention and yet the small gatherings of textile designs within the gallery also create more local dialogue for consideration. The repeats are large, not in the Marimekko sense but larger than we often see, taking the full width of the fabric to do the talking. Seeing the textile lengths on exhibition really shows off the bold rhythms of each pattern.

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The designs on show demonstrate a variety of motif units across the fabric, some halved, some quartered, others full width. The corner of the gallery most impressive in my opinion was the monochrome series that really pushed her design prowess forward. Although strong graphic statements, these are far from flat patterns. The curves in Ikebana (below left) and Automation (below, third from right), both from 1970, differ in how they control and divide the space, toying with depth and dimensions. There is a sense of sci-fi and computer generated environments across this mono-chrome series. Escher should also get a mention as the optical illusions on the architectural scale appear to pay homage to him too.

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I have my favourites, but I really want to highlight the breadth of pattern compositions here. The design statements include many geometrics with cubes, columns and dots. There are stripes, spots, architectural themes and florals. I see more than a hint of Op Art, Psychedelia and modernism across the printed fabrics, some more than others, but the designs appear experts at communicating the populist aesthetic of those years.

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As a teaching aid for textile design, this exhibition does rather well. Design students can understand the potential to grow large repeats rather than stop at small ‘plonk – plonk’ designs we see far too much of – maybe a result of designing on computer screens. Designers need to understand that even domestic interiors can cope with so much more than a motif 10cm in diameter. Brown’s shapes are also not always contained by outlines, and this presents bold, solid shapes that hold their own. Colour statements include monochrome and full-on colour including oranges and blues. There is a sense of the colour palette dating the patterns but the combinations communicate bravery. The monochrome designs have a very formal spirit, and although different in style do remind me of some of the black and white, large classical columns Timney Fowler print designs of the 1980s.

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Barbara Brown was working in a very different time, and artwork was not created in Adobe Illustrator or Photoshop. Hand drawing full-scale repeats gives you a very different relationship with pattern compositions. Some designs appear not to show signs of drawing, but others do, almost standing out for doing so – particularly Sweet Briar, 1959 (above left).

The exhibition was dominated by the printed fabric lengths but a couple of later knitted pieces offered an insight in to the designer’s creative career progression, and reminded me of the direction Lucienne Day took with her silk mosaics, making a clear distinction away from the commercial print designs. The juxtaposition of some small ceramic pieces next to fabric lengths offered an interesting pause for thought too. Would you have matching china and curtains? Maybe not, but the patterns held their own at both scales and on the different surfaces.

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This is one of those examples of why you need to see exhibitions in the flesh, and not rely on the computer or phone screen to do the job. Seeing Barbara Browns patterns are eye-catching on a small screen, but they are far more impressive in this setting.

The exhibition is on show until January 2018 (and they always have several interesting things on at the same time – and I can recommend the cafe!)

http://www.whitworth.manchester.ac.uk/whats-on/exhibitions/currentexhibitions/barbarabrown/

Plot to Plate season

Apparently it’s National Allotment Week, but having an allotment is an all year round commitment. It is however this time of year when the winter trips to dig the heavy clay soil ready for the Easter planting pays off, and all the trips returning home with only muddy boots to show are forgotten.

We are having to visit the plot at least twice a week to stay on track with harvesting. The currants and gooseberries are picked, eaten or frozen. Strawberries are only a memory along with Wimbledon, but potatoes continue to be dug. We’ve had too many courgettes for what feels like months, but probably only weeks, we’re coming to the end of French beans, but have the runner beans in full flow.  Raspberries have given us the summer stint, and now, along with the blackberries show us signs we are in late summer, heading for Autumn. I’ve already cooked too batches of blackberry jam, and cream teas are regular occurrences at home!

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It’s not all going smoothly! We are having no luck with getting parsnips growing; I fear winter roasts without them! The brassicas are being harvested by slugs and butternut squash had better get a move on if they are to deliver ahead of the frosts. Domination of certain weeds make it difficult but I’m determined not to be beaten – we garden organically but there are times I dream of chemicals! We’ve also realised that although growing purple potatoes (Blue Danube) is rather novel, it’s very odd eating purple mash potato and we are not so sure we like it.

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Five years ago I launched my Plot to Plate collection which is a celebration of home-grown food. It is a collection that shares my interests of gardening and pattern design, with products on interior and gift products. Limited edition prints initially investigated the motifs used in the repeat designs. You can read more about the Plot to Plate collection development here.

Having an allotment is a great way of being in touch with the seasons and being in tune with nature. I once heard the chap on the next plot to ours exasperated as weeds covered his once tidy plot that he had left alone for a few weeks. He said he was not going to be bossed about by nature… he quit within the season! I sometimes feel that it’s an extra burden in my busy schedule, but once I’m there, digging or harvesting, those thoughts are put aside. The community of the allotment holders is also great. Today I was discussing our successes and failures, and soon the offer of spare brassicas was made and sweetcorn varieties were being recommended. I’ve written before about the good feeling of sharing allotment produce excess before.

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My Plot to Plate collection has grown since 2012, far beyond my original intentions, but I’m really pleased with the evolution. I’ve made drawings of many kitchen gardens over the years – National Trust’s Upton House & Gardens remains one of my favourites, along with Hanbury Hall. My tea towels that celebrate the journey from plot to plate with drawings of the tools involved has inspired lots of my design work since then too, so they make me proud.

So here we are celebrating the allotment, but it won’t be just for this week, it’s a collaboration with nature after all and I’m in for the long haul… happy harvesting!

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yellows

I’ve always enjoyed working with colour; choosing combinations, mixing inks and matching colour. I am interested in how we relate colour to brands, how colour suggests quality, market levels, football teams, trends, and this week in particular political parties. Sometimes people say they do not really like colour – but what they often really mean is that they don’t like strong and vibrant colours, but in my mind bright colours are no more important than the whites on white; equally powerful if used well, just not so extrovert.

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I like seeing the way an inky grey sky makes fields of corn glow golden, and how the crepuscular blue sings out before the night sky takes over. Relationships that colours have can bring connotations, evoke distant memories and create moods. I remember a bag of hand-me-down clothes was excitedly torn open by my twin sister and I, hoping for fabulous new items to wear – in the eighties, when what was actually presented was everything brown and purple – from the previous decade. So disappointing!

Getting the right colour isn’t about a broad brush of red, it’s about seeing the nuances. You’ve only got to see a sale-rail to see the buyer got the shade of mustard a bit too green, or the pink too candy, and not blush. Any colour can vary hugely, our personal perception of colour not only is affected by the technicalities of sight, but also our own relationships with colour, built on past experiences. It took me a while to wear navy, having had to endure it for school for several years.

A friend described my ‘black’ screen prints for the Barbican, and I had to explain it was actually dark grey – it makes a considerable difference to the final result, but if both examples are not shown side by side most people would be none the wiser that the designer made a conscious decision to make a grey look not quite a black.

So here’s some yellow, photographed in Norfolk a few weeks ago. Enjoy, what ever it means to you!

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gardening spirit

As this is the start of National Gardening Week it seems appropriate that I reflect on how important gardening is to me. Growing up in a gardening family, with a self-sufficient attitude to growing vegetables I suppose it was inevitable that one day I’d have a garden of my own to tend. For years I’d visit mum and be walked around the garden having updates on the state of things, nodding but never knowing the names of things, but seeing the pleasure the process of gardening gives to her. Now I understand.

Here in Birmingham we have an allotment to grow the vegetables and fruit in, and we grow flowers in our garden. We have spent over a decade digging and harvesting plot 8; learning to respect weeds for their various ways of making their presence known – I still want to try weaving couch grass. The feeling of success when we pick the first strawberries of the year, or fill the rucksack with runner beans that can be filling the freezer for wintertime is certainly worth the hours of graft. Last weekend I picked over a kilo of purple sprouting, and we commented that the harvest would probably cost well over £10 in the shops, as organic produce – but with no plastic wrapping or air miles included. Of course our food tastes so much better too! Gardening spells out the seasons as we check for frosts, or pick the first fruits, and enjoy the harvest and flowers of each changing month. The beds of wallflowers make me so happy this time each year, signalling the excitement of the growing year getting underway.

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It was at the allotment plot that I first developed my pattern collection ‘Plot to Plate‘, launched in 2012. I had been drawing the allotment beds on the site, as well as National Trust kitchen gardens for a while, and a language of graphic pattern made from lino cuts evolved, firstly as limited edition prints, and secondly as motifs to explore repeat pattern with (for example: Plot to Plate VVV textile design – final image with the Auricula). The title design is slightly different in the fact that it was hand drawn, and is an over-sized dog tooth check featuring tools of growing, cooking and eating, such as garden rakes, spades, whisks, wooden spoons and cutlery as a visual narrative up the tea towel, celebrating the journey from plot to plate – available in Brassica green or Brassica purple. plottoplate_ttowels_katefarley150

This collection has evolved to incorporate more formal pattern compositions such as Parterre (below) and Hanbury, inspired by National Trust’s Hanbury Hall and Gardens in Worcestershire, featured on hand screen printed cushions and wallpaper, where I make links between pattern design for textiles and formal garden design.

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These days my design practice has moved away from the inspiration of the formal gardens but I continue to dig. Our potatoes are in the ground for this year and the greenhouse is working some magic. Gardening provides me with not only creative inspiration but also head-space – a highly valuable asset in today’s world. As a designer and an academic, juggling a young family too, things can be frantic and I’m often running for trains. Faced with two hours of hard clay to dig I’m actually very happy. I can focus on the job in hand while chatting to the friendly robins, making myself physically tired, seeing the result of the work, and at the same time having time to think and mull over some of the other stuff of life. There’s also the sense of community with other allotmenteers; we share the same weather and battles but also share the excess harvests. Every time we get to the point of questioning ourselves about the allotment and if we have time, I remember all that it does for me, how my hard work there actually keeps me well; gives me a sense of well-being I can’t imagine getting from anything else. I shall keep digging, and knowing, for so many reasons, why I do!  Happy National Gardening Week!

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