whites in paint

Having enjoyed putting the red palette together I have made a more neutral one using the white end of the Farrow & Ball paint chart and a number of ‘finds’ I have in the studio, reminding me of happy times away from the city. The subtlety of the shades and hues of white are beautiful. The textures of the grasses and feathers work really well with the paint and paper qualities too.

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seeing red

My world is pretty colourful; on a daily basis I’m in contact with colourful textures, materials and surfaces from fashion, interior and architectural contexts. Not only do I work with hard and soft surfaces in my design practice, I also teach undergraduates to work with colour in relation to textile design. It’s important to see beyond the broad definition of colour by name and to think about the context of colour; the surface qualities in that colour, the effect the material has on colour, such as gloss, matt and opaque for example.

Last week I managed to update some colour charts in my studio resources and it made me think about how we tend to have particular favourites when it comes to colour. I certainly have a comfort zone in sections of the colour charts and other areas I’d have to be persuaded to go near. Commissions often include discussions with clients about the intended colours of products, and I enjoy the challenges of pushing the boundaries of my comfort zone – within reason! I have a different palette I’m happy to wear compared with what I’d live with, and I certainly dress in colour relating to the mood. I remember many years ago dressing in very colourful clothes only to receive a rejection for something that mattered. I felt gutted I’d dressed for the wrong outcome!

Here are some REDs… I love the border colours between red and orange.

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a fine line

Once again, and not a surprise, a trip back to my homeland of Norfolk this Christmas resulted in me taking many photos of the beautiful horizon lines, across fields, marshes, the broads and beach.  Stunning light resulted in ever-changing colours that really showed the landscape off at its best.

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season’s colour

A beautiful pocket of Norfolk provided this colour palette for us at the weekend. Surrounded by greying reeds and rotting down leaves the bright sunshine lit up the sulphur-yellow lichens, orange shooting willow whips and mauve feathery seed heads of the reeds. The more we looked the more colour we saw. I took several photos and as I focused the lens on details the overall variety of colour and tones were lost, hence the palette I’ve made here.

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If you ever get the chance to visit, I strongly recommend this place. Wheatfen is a nature reserve in Norfolk, managed by the Ted Ellis Trust, founded to continue his valuable work in raising awareness of this fragile environment and to make accessible this landscape for others to learn about and to enjoy. It doesn’t feature dramatic mountain passes or high waterfalls, but for me it is perfect. If you are lucky, as we have been over the years, you might spot an otter, a heron or a Swallowtail butterfly, and lots of reeds! It’s a pocket of tranquility that I could lose myself in for hours.

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Modernist patterns in the making

Over the last few months, actually for most of this year, I’ve been working on a commission with the Barbican Centre London to create bespoke patterns for products in their newly developed retail space, ready to launch in the Autumn. It’s been a fabulous project as I’ve developed the designs with plenty of dialogue with Head of Retail, Adam Thow, to-ing & fro-ing by email. The brief has altered only slightly since the beginning and I feel really proud of what we’ve produced. There’s a more detailed interview about the project over on their blog.

The idea was to explore the Barbican Centre, famous for its architecture, but to also include its activities as a cultural centre of music and performance. I explored lots of ideas and pattern compositions but settled on the idea of a sheet of music, and ended bottom right with the bold double bar lines. Within the patterns I referred to musical notation, and made links between the architectural features and those of instruments, including a violin and oboe, to create a sense of narrative, playing with strong negative and positive shapes. Each of the motifs were hand cut in paper, scanned in, and combined using Adobe Photoshop.

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Last week we shared the first images of the design work so I thought I’d share here too. The images here show my developmental design work above, and the final limited edition screen print and pattern for products. Visit @barbicancentre on instagram for more final product shots.

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Plot plants and design musings

It’s that time of year when the weeds seem to grow faster than the vegetables, and with so much rain this last month, the slugs have found it very easy to slide across the plot to our crops. The courgettes have started cropping but the peas lost the fight. This has got me thinking… This gardening game is very much like the designing game.

There are highs and lows with both, rewards and lessons to learn too. Progress can at times come easy, and with other situations hindrance can be everywhere, and not of your doing. There are also joys in the changing seasons, the changing pace, the focus of attention. Preparation is needed in both garden and design studio; good tools, knowledge of good practice, even ethics come in to both!  Experience and maturity can guide you, but even then, elements beyond your control can create a set-back. How the gardener, and how the designer copes and picks themselves back up also has similarities. Both disciplines demand attention, can’t quite be put down, often filling my mind with excitement of what is happening, what is growing in to something beautiful, edible, or with great potential.

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I hadn’t really thought of this before, but now I can see the similarities I can see the sense of purpose in both, as well as the patience required. Neither can be rushed if you really want quality outcomes. You can buy a box of plants ready to put straight in the ground but the satisfaction is never the same as when you nurture the seed in to a strong plant, eat the fruit, gather the seeds and start again. Isn’t that exactly the same with designing? You can start from the very beginning, and own the entire idea, or you can take a short cut, see someone’s beginning, and take it from there. Not at all as satisfying.

There’s many ways of being a gardener, and there’s many ways of being a designer. I think what’s important is that find the thing that feels right, and works for you. Then, tired from the tasks, you can sleep well, knowing the process will keep you strong.

For reference, sadly none of the flowers above were grown by me, but by my fellow gardeners at the allotment. I did take the photos though!

 

textile fragments

I have this textile ‘fragment’ that I think is beautiful in so many ways; the richness of colour, the manipulated folds of cloth as well as the resulting patterns of the geometric shapes of both the positive and negative folds of the fabric. There is aside to this, so much more connecting me to this old piece of cloth I acquired over twenty years ago, and when I see it, those thoughts come back to me in an instant. This is the power such materials and objects have over us.

I studied at art school, and although the main campus was in Norwich, I was at an outpost in Great Yarmouth. I loved being by the sea, and it was my first time away from home so it was a huge learning curve and time of growing up. I was learning textile and drawing skills and I have fond memories of it all. One day we had a visitor, a lady who had traveled the world collecting textiles, and she brought some of these to show us at the college. I had been interested in the Ghanaian flags of the Asafo, as well as Indian applique so I was fascinated to hear her talk and see the textiles from far-off lands.

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Sadly excitement became upset as the textile pieces were laid out in front of us. I wonder now if I was the only one thinking what I was. When I saw the exquisite fabrics cut in to pieces and crudely stapled to paper with pencil written details of where they had come from I felt so concerned for the apparent brutal way they were being separated from the original whole, their link to their heritage and provenance. It occurred to me then that other nations were losing the heritage that they owned, as the fabrics became souvenirs for others. Had someone chosen to sell them; were they ‘acquired’?

That day holds further sad memories in actual fact. My dear Grandma had died that weekend, and I really wasn’t coping too well away from home, but I got through the day and decided to buy a piece of cloth from the lady as a way of treating my sorry self. I felt torn by the decision to buy it. Would my purchase make sure it was kept safe, or encourage more sourcing of cloth from across the globe? My piece states ‘fragment’ in its description and yet is has clearly been cut from a larger cloth. ‘Fragment’ suggests to me a museum piece, a fragment of history, a clue of a larger object salvaged from ruin rather than proactively separated from its other parts to form the sum – a folded patchwork Kathiawari horse strap from India.

The colours have altered over the years since its time of making no doubt, and the fabric has become worn too. I removed the rusty staples in an act of care and conservation. I also taught myself how to create the folds and layers of fabrics to understand, through making, the construction process. The piece inspired a fabric manipulation project during my time in Great Yarmouth – mostly lost to history and probably for the best! My fabric samples are nothing in comparison to my ‘original’ fragment. The pieces I made lack the authenticity, the ageing, the integrity of originality, but they too serve to remind me of the value of heritage, of belonging and remembering.

With so much talk in the media at the moment of cultural looting across the world both past and present, I am again reminded of this piece of cloth, its heritage and place in the world. The fabric also distinctively reminds me of the loss of my grandma at that time, and yet isn’t it strange that a piece of Kathiawari cloth – not any piece, ONLY this piece, can act as a token of a memory of my Grandma who as far as I know, had no connections with India?!