posted pattern

As those nearest to me know too well I am something of a collector, and regular readers of this blog will have been rewarded for their time, by being lucky enough to read of some of those precious collections.

As printed pattern is my thing it’s not a surprise this collection is all about pattern, but I also have a thing for post, and stationery, and graphic / lined paper, so this collection is really a celebration of many things.

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So when did it become a collection? I remember collecting – I’m not so keen on the word hoarding! – when I was an undergrad textile design student as I made lots of collages using the inside of envelopes as visual noise. I also read something about Matisse saying that drawn and printed patterns were rhythms, as if textures in his work – I think in relation to his Jazz collages, and I completely agreed, sat there on the college library floor making sense of what I had been doing in my sketchbook and being excited at the verification. I worked for Royal Mail in the sorting office in both Norwich and Leeds during my college holidays and I was fascinated by the thousands of envelopes I saw each night shift, making their way across the world, from the sorting frames we sat at. I still have a fairly impressive memory for postcodes as a result of this time twenty years ago! I also realised at that time that if you didn’t pay your BT bill on time they sent the red reminder, and that envelope had the same criss-cross pattern but printed in red – I have a few of those. So this collection started two decades ago!

What is it about the envelope insides? I like the idea that the feature is hidden; a discreet treasure tucked away rather like an exciting lining in a suit pocket. Some of these patterns are busy performing a task that may go unnoticed. Particularly with pay-slips with number-related graphic rhythms, the patterns act in a similar way to patterns of the dazzle ships: distorting, obstructing or distracting from reality.

The inside of envelopes are not the most popular context designers dream of but despite the inconspicuous nature of the envelope interior, even if it’s lucky enough to have a window, I like the fact that someone somewhere was commissioned to design a pattern for the humble envelope. Some of the patterns are fabulous examples of micro prints and I can be partial to those tightly repeating and often graphic rhythms. The colours are rather limited to blue, a rather institutional hue, but there are greys, greens and of course the red of the debt reminder.

Having moved boxes of this archive around the country to various addresses I have lived at I formalised the collection in to sections in lever-arch files, including variations of colour and scale, with another box I’m prepared to sacrifice to collage. Over the last few years, and with a clearer idea of what design, and specifically pattern interests me I’m really proud of the collection. Brick patterns feature, as well as checks, the ones with numbers and the few flowing, more organic ones. Some feature company logos, there are envelope graphics and the beautiful and no-messing dots. Some people still send me ones to add to the collection, and I do still keep an eye out, but sadly there are fewer new ones being added. These days I can appreciate a beautiful pattern but if I have some already (note: obviously I need more than one sample of each!) I can even get them in to the recycling bag! … only to be discovered by the next generation of collage makers in the family, and it comes back out as treasure to someone else. Oh well!

If you want to see more, or share your envelope treasures head to instagram and use #envelopeinsides

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learning with archives

Recently I have been sharing joys from the fabulous archive of textile samples belonging to Birmingham City University’s library, some dating back from 1901. Myself and a colleague have been showing these treasures to our students, helping them to see their own learning as part of a history of design practices. In an age of the digital file it’s been fabulous to see how much interest these portfolios have generated with our students. It’s a tough call as we worry for the protection of these fragile items, and yet value being able to see and interact with them.

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Being able to turn the pages, and reveal the hundreds of printed swatches is really an exciting journey and the students really engaged with the quality and preciousness of the items. The fact that all the samples are beautifully hand mounted and labelled adds to the beauty and experience. The range of design compositions is considerable, and the detail stunning. Tiny little flecks of print; an anchor, a petal of a flower, or coral texture printed on fine cloth demonstrate quality of the day. We noted the generosity of many designs, and discussed commercial appeal and production methods available before screen printing and digital printing possibilities. Of course this is pertinent at this time of financial cuts in the support to local and national libraries and associated archives, and with arts and culture being sold to the nation as a rather nice hobby we just can’t afford at the moment.

Seeing things with our own eyes helps to engage with the subject, making things real, and adding value to the experience. I spent an extremely insightful day at London College of Communication’s Learning Through Objects event #UALOBL last month discussing this subject with fellow academics, researchers and archivists. Yes it’s easier to deliver another ppt to a large group of students, but sessions with objects and physical activity are the ones that are likely to make far more impression, and make the difference to learning we are aiming for.

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building aesthetics

For the last few years, I’ve been lecturing on the subject of design history to first year students of Textile Design at Birmingham City University as part of a module aimed at introducing historical design considerations. Styles specific to an era, the influence of globalisation, the role of Fine Art, architecture, film and graphic design in shaping textile design, and where we are now, in context to where we have come from are presented alongside social commentary, introductions to colourful characters, controversy and a spot of light entertainment! It’s a huge ask to expect students to remember all the information I share, but my main focus is showing them how much it matters that what has gone before are the results of the times in which things were designed, whether it be superfluous decoration or trailblazing technology. From contemporary trends in fashion, to why we don’t choose certain colours for our bedrooms, I think it vital that our students have a working knowledge of design history as a foundation of understanding, as designers themselves. This knowledge feeds back in to their studio projects in the working knowledge of aesthetics, linking the look of something with the connotations that others might bring to a piece. Is it beautiful? Now there’s a rather complex question!

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Last week I shared my ‘interest’ in forks, and more can be read on that matter here. As I move towards the present day, bit by bit each week – Arts & Crafts, Morris et al, Art Nouveau etc this Friday, I introduce words to help grow their critical vocabulary, and help them to see and read this history that remains around us. Walking through Birmingham demonstrates how different styles of ornamentation jostle for attention. Arts and Crafts flourishes appear fussy in contrast to the rather robust Deco motifs. Twenty first century obsession with flimsy superficial solutions such as the facade of New Street station’s mirror panels, and other examples not far away, are put to shame by the care and craftsmanship of carved stone, worked iron, and intricate tile work of over a century ago – still intact. Now as the wrong library remains standing (in my opinion) I dread the day I hear that the concertina signal box loses the fight to stand. I digress…

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I’m fascinated in how something can contain the belonging of a time, a style, a movement, just in the detail of a line, or a point in a curve – I’m specifically referring to pattern and decoration here but this observation can also be made with architectural detail. The shape of a leaf, the ‘stylisation’ of a flower, has the ability to communicate its belonging or differences in a glance. As a designer it’s important to know these references, especially in relation to a client’s brief – you wouldn’t want to offer Baroque when Neo-Classical is required! This knowledge of visual language crosses design disciplines and it’s fascinating to identify the same aesthetic approach on printed cloth that is also worked in silver with a terrine.

I enjoy the challenge of creating design motifs that tell the story, the unwritten references in the pattern, making a statement to belong. My recent commission for the Barbican shop illustrates this point; that architectural styles, in this case Brutalism, and the approach in which I take to the design process is fundamental in demonstrating through the aesthetic, the design language of the project.

It’s difficult for me to imagine not being able to hear the jazz age when spying an Art Deco border, or to think of Athens with the hint of the Greek key pattern. Despite not exactly loving history at school I now see the importance of it in adulthood. It’s a sad week as it’s announced we lose Art History A-Level as a subject in school, making it harder still for those with an interest in art and design to learn their passion. In Birmingham we have examples of Pugin’s design work in St. Chads cathedral and the hand of the Pre-Raphaelites in St. Phillips.  I hope my lectures feed the students’ imagination to want to know more, to feel proud when they differentiate the Deco from the Nouveau, and to go on to be informed designers, telling the right stories with the curve of a line and the style of a flower.

All photos taken in Birmingham by ©Kate Farley 2016

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seeing things

I’ve been giving a lot of thought to the idea of looking and seeing, and particularly how we evidence what we have seen. I have boxes of photographic prints of things I’ve seen: cracks in pavements, postboxes around the country, vapour trails in the sky, flowers I’ve grown and plants I wish I’d grown – and much more. When the world turned digital I stopped filling real boxes and filled virtual boxes, and some I look back at, but rarely do I touch the surface of the sights I have collected.

The engagement in social media, and the sharing of pictures begs me to think again about why we take pictures, and why we share them. As I spend most of my time in some sort of real or virtual context of people in the creative industries my Twitter and Instagram feeds are heavily laden with considerately photographed shadows of railings, colour combinations of socks on patterned tiles, recently obtained vintage finds, and dare I say it, beautiful breakfasts! Not only are we collecting imagery, we are proving that we are seeing and experiencing interesting / beautiful / different things and places, judged by us and hopefully ‘liked’ by others. Yes it’s marketing; a branding tool to evidence our aesthetic judgements.

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Some questions then, are we seeing more? Do we notice more, and appreciate more?

It does seem as if there have always been people who see faces in clouds, and beauty in peeling paint, but I wonder if social media is driving us to become a load of aesthetes. In my world it may seem that way.

As a pattern maker I’m always on the lookout for eye-candy, and usually of the ‘just happened to be there’ kind of pattern, rather than a designed pattern – having said that, I’m equally likely to be stopped in my tracks by a well-designed wallpaper. There have been many books over the years, and more recently blogs that feature the beauty in the overlooked, or the ugly, or the mundane. The desire to collate / curate these sights are no more in evidence than in the world of Patternity a design-savyy duo with a manifesto about pattern! Their stunning website and book and interesting collaborations are clearly tapping in to this moment of ‘seeing’. Check them out if you are so far unaware.

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Pattern really is everywhere, formally and informally and that’s the pleasure. I remember the day I was taught the mysteries of repeat pattern making, and that evening in a pub in Great Yarmouth, Norfolk, I took great pride in identifying the repeat ’tiles’ in the carpet, wallpaper and curtains of the glorious / hideous 1990s pub decor.

I had the pleasure to spend time with the fabulous Sarah Campbell last month, and much of our conversation, as we were at New Designers, was about pattern making; why we do it, how we do it, and getting people to pay for us to do it. During the conversation Sarah spotted a lady beside us in a polka dot blouse, and we noted that pattern-makers never really switch off from pattern spotting (pun intended!), pattern making, and pattern appreciating. When we departed we both commented that we look forward to reading each others next blog post – well here you are, this one is for you Sarah – it was a pleasure to see pattern with you!

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?!

passing on pattern passion

In my role of academic as well as a designer I am regularly required to enthuse about print and pattern, and to be honest that’s fine, as I love designing and teaching pattern for print. This last week has seen me out and about to pass on my passion for pattern, firstly to Wolverhampton Embroiderers’ Guild where I was invited to talk about my practice. It’s always interesting having to consider what bit of the last twenty years to focus on, requiring reflection and evaluation, and how to tell the most relevant story without missing the bits that might be the most informative to others even if they didn’t seem so to me when living them. The audience were really generous with praise, and were really interested in my creative process, so sharing my sketchbooks, and anecdotes felt very easy to such an interested group of makers.

Tuesday saw me overseeing a morning of filming at Birmingham City University (BCU) with Laurence Llewelyn-Bowen and TV crew, working with our third years and our fabulous Print Technician. It was a morning of celebrating the Arts and Crafts legacy, William Morris in particular, and the importance of understanding the value of drawing to the process of pattern making. It was a pleasure promoting our talented third years, in the closing stages of their time with us.

This leads me to yesterday when I and a colleague took a coach of second year Textile Design degree students to Manchester, specifically the Whitworth Art Gallery to see several exhibitions. On walking in to the first gallery and the exhibition ‘Revolutionary Textiles 1910-1939′ I noticed a number of pieces that I had featured in my Historical Textiles lectures when I had taught this group of students as first years, including Barron & Larcher, Josef Hillebrand and Omega Workshops. It was fabulous to see the students’ excitement on recognising patterns and names of designers that had, until then remained theoretical, and not ‘actually real’. Their knowledge meant something tangible, and I think was empowering to them. It was an honour to share that excitement of learning, and understanding.

Having worked on the Tibor Reich show at BCU it was great to be reunited with the collection, also on show at the Whitworth, and to see the different emphasis this exhibition made to an amazing and extensive archive owned by the family. The students really responded to the way Tibor worked to create pattern, and explored pattern through drawing with layers of colour and line. I couldn’t help but point out Tibor’s excellent use of a sketchbook to explore ideas.

Image below: top row from Revolutionary Textiles, bottom row Tibor Reich

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The room that wowed me most was the wallpaper gallery upstairs, and again, this exhibition was exciting and inspiring to the students, leading to some really interesting conversations. There is of course no comparison between seeing metres of wallpaper stretching skywards, to a small screen of Google images. We talked about print production, the scale of motifs useful to a domestic space rather than in relation to a sketchbook page, and why thinking big should be embraced. We admired the Lucienne Day patterns that are so familiar to us, alongside new discoveries, and that is why a curated exhibition, unlike an online search can be so beneficial; the selection provides context. I encouraged the students to question how they would make the marks, the shapes and patterns without computers, and why the variation of hand-made can offer something that digital software excludes. I include an example below to illustrate my point – beauty in the irregular.

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We did have time to enjoy the beautiful surroundings of the cafe but also took in a quick trip to see the newly opened Fashion & Freedom exhibition at Manchester City Art Gallery, one I really do recommend too.

So, more pattern inspiration for me, and hopefully some more people inspired by pattern too…

Springtime shopping of Plot to Plate gifts

My ‘Plot to Plate’ collection inspired by gardening is celebrating Springtime with a special offer in my online shop. For orders over £20 placed during March and April there will be free gifts included.

All products are printed and made in England. Tea-towels, bags as well Hanbury and Parterre cushions are screen printed. Greetings cards are printed with British paper.

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