One of the aspects of drawing for pattern design that fascinates me is the stylising process; how we see something and process it as an interpretation of the thing we initially saw. I’ve written about this several times on this blog over the last few years. When I start to draw something new I make quick studies to get to know the subject matter, and work out what the key information might be, and how I retain the qualities that make the subject remain visible in some small way – depending on how much I want to hold on to the recognisable elements.
While washing up the other day I saw two of our plates side by side in a way that got me thinking: I saw connections I’d not spotted before despite the visual languages of the plates appearing to be very different.
Both plates are decades old, both have seen better days. One is a simple graphic motif, one is a rather nostalgic painted flower posy.
Both plates appear to have floral-inspired printed surface designs. Both designs could be described as featuring yellow flower heads (although one includes other flowers too while the other contains multiple prints of the same motif elements).
One design is pared right back to stylise the flower by only recording a stem and flower head. The style is almost diagrammatic in the simplicity of the motif consisting of black stem and V-shaped lines crossing the stem to suggest leaves. The flower head is a straightforward circle with a dotted outline. Not all stem motifs have heads, there is a randomness in the composition across the plate.
The other plate design features painterly and drawn details, a generous sprig of flowers utilising more colours to express the tones and textures of the flower and leaf details and certainly more expressive in its rendering. The flowers are placed on one side of the plate, as if allowing space for the cake to be placed alongside. The yellow flower head is certainly the attention grabber.
Now I’ve spent a bit more time thinking about these designs I actually believe they make a great pairing, two designs that complement each other in what they offer. I’m not so keen on matching crockery and enjoy using our mix and match plates collected over the years from car boot sales, charity shops, family hand-me-downs and gifts – they all offer reference points and bring something to the collection, and this week I’ve been grateful to appreciate this duo in a new light.
As a keen lover of patterns I’m always on the look out for interesting examples to add to my consciousness. I do like a good geometric as well as micro (small scale) repeating patterns so despite being immensely annoyed to find myself back in hospital on a ward for a week I did spot the odd pattern of interest…
I’m interested in small details that make patterns work, and I spend time in my teaching analysing successes and failures of patterns in relation to motifs, pattern structures and repeats to teach the students how to improve their own designs. These NHS designs, printed on fabric for hospital nighties (left), pyjamas (middle) and the surgical gown (right) do demonstrate merit.
Small details on the pyjamas / nighties, such as the spot actually being a hexagon, the less obvious choice, and the squares making up the bigger square block including smaller squares in the darker colour, means they contrast with the larger mid green colour bring visual interest. If the darker squares were the same size they may well appear too dominant. Interestingly, the pyjamas had the green colourway as vertical stripes, and yet the same design in red was placed as horizonal stripes on the nightie. I wonder why this was. Let’s not talk of the fit of these garments! The surgical gown is more simple, but I appreciate the fact that the cross is made up of broken lines, with a small dot in the middle – so much more interesting that if it had been two lines crossing.
These are tiny details that most people will overlook, I know I was probably not the most typical of inpatients, but if you spend any length of time on a ward, nil by mouth for several days your mind wonders. I found there to be a significant challenge in retaining something of myself as a person beyond the sick patient, with all the focus and attention on your health, or lack of. The pattern spotting was a way of still being me.
As I said at the top, I like micro patterns and have shared my collection of envelope insides on the blog before. I like the smaller scale patterns that provide visual rhythms and noise, that get on with doing their job, in a simple utilitarian manner. These patterns on hospital garments also got me thinking about moquette, the hard-wearing fabrics on transport upholstery, and how those patterns signs are there to conceal dirt and wear, whereas these hospital ones with the white background were doing the opposite.
I hope you don’t find yourselves in hospital to have the chance to analyse patterns on your gown, but if you do, I hope you like the ones you’ve got!
Twenty years ago, in January 2001 two friends established a creative challenge as a way of sharing their days, while living in different British cities, through daily production of artwork. The idea of mail art had already been of interest to them both, and this project formalised the process of sending pieces of artwork through the postal system. It was highly likely that the outcomes would also find themselves featuring in an artists’ book in some shape or form, as so many of our individual creative ideas did at that time.
Rules: Every day in the month of February 2001 we (Kate Farley and Imi Maufe) would make a postcard inspired by the sky that particular day. In fact two identical postcards were made each day by each friend – in case one got lost in the post. The size of each card was agreed to be 11cm square, and it would need to be in the postal system that day.
February 2001. SKY BLUE PINK
Each day, between Bristol and London, and sometimes Norwich, these postcards crossed the country representing the experiences of lives being lived under the skies of winter. Postcards were made using a combination of image and text, suggesting downpours or sunshine, colours and times of the day. The artwork includes a mix of drawing, paint, printing, photography including a pinhole camera photograph, and collage. Each participant’s creative journey and personal style shines through.
Alongside references to the sky and weather there are details of exhibitions, bicycle rides, parties, shopping, college and work. At one point cards were delivered by hand as they shared a weekend in Bristol. Only one postcard was lost in the system – a post-it note breaks the news.
MARCH: TO AND FRO
Having enjoyed the task of finding a few creative minutes, however busy we were each day, to keep the project on track it was decided to try another month on a different theme. To & fro represents the journeys of the month of March 2001, keeping to the same rules apart from the theme, and the interpretation of what a journey could be was up to the individual. Postcards recalling more cycling, mapping around buildings, postcodes passed through, my birthday, journeys by bus, emotional journeys, creative processes and even a Spanish holiday gets a mention. The artwork is varied throughout the month, and between the two participants as with the previous month.
I was working part time as Print and Photomedia Technician at Central Saint Martins in London, alongside design and making artists books, hence the access to the darkroom to make the photogram. I taught pin-hole photography and the view from the 4th floor window at Back Hill across Clerkenwell features. I had bought my Turkish Green Brompton (folding bike) and it gets a mention a few times. Imi was studying in Bristol, and continues her interest in journeys in her practice today.
In April there was an exciting day when the postcards were gathered and shared. The next stage of the project was to design and construct the book showcasing the original collection of postcards between two friends in order for us to create editions. The book structure needed to show each of the postcards sent on the same day, and reveal the front and back of each. As there were two of each postcard the pages of the book could be designed by sticking each pair of cards on a single page and fold the sheet to indicate the back and front of each card – and also allowing the book to be made and editioned by printing single-sided. My grandma used to say the term Sky Blue Pink and so the phrase became our book title for the weather, and To and Fro was an obvious choice for March.
There was a stressful afternoon of hunting around Bristol-based printers to carry out the colour copying and bind the book. One chap managed to shuffle the pages out of order almost by simply looking at them – we couldn’t entrust the postcards to him – but eventually we found someone who understand the peculiarities of the project and how the two editions needed to be constructed. Wire-binding held the two sets of postcards in individual books, united by the wide and folded cover, nestling the books in to one. They were in editions of 10, published under the IKUS press, formed for this purpose.
We exhibited these books at artists book fairs, launching them at the International Contemporary Artists Book Fair in Yorkshire and received a really positive response. We sold the majority of the first edition of the books in the first year, including to significant collections such as the British Library, and produced a second limited edition soon after.
This was a time before social media, and today, thinking back over the design process of the book, it’s worth remembering we didn’t have access to scanners and computers, so it really was a rather handmade effort, but I think the outcome is better for it and I can’t believe we are looking at these, twenty years on. Having made those postcards and revisited them again now, it has surprised me how much I remember from those specific days I lived, that I could easily have forgotten entirely if it was not for the act of making time to be creative.
I also take from this, the value of making time to be creative, and to be aware of the world around me. I was busy rushing about but always in my mind I had to notice something and work out how to create the two postcards to visually communicate that day. Maybe I should start this up again, although Covid lockdown makes my life considerably less interesting!
In my line of work CMF is an area of the design / manufacturing industry developing colour, material and finishes in relation to sectors such as automotive design, interiors, products & accessories etc. It involves innovation, design and development of surface and material solutions and is an exciting area of design, including trend research, consumer behaviour, material innovation and sustainability.
Spending more time sitting in my home celebrating Christmas got me thinking of the specific colours, materials and finishes I relate to Christmas. Home-made fudge, mince pies and Christmas cake, the walnut and chocolate coin in the stockings, obligatory sprout, some holly and fir greenery and a bauble that has been handed down to me, and that has somehow survived decades of Christmases. With the end of the year here, we have another sort of ‘finish’, so I’ve created a CMF board for today – I hope you like it!
I’ve been continuing my colour mixing series, this time taking inspiration from the beach and the artefacts I gathered. The gouache works wonderfully to capture the colour, responding to small specks of added colour as I take the starting colour on a journey to and past the colours of the item I am studying.
Some new drawings are taking shape that use these colour chips and I am excited about where they are going – one day I’ll share them. In the meantime I hope you enjoy the colour of the beach of north Norfolk.
Many years ago my flatmate was given a passion flower plant and when the flowers came we were both in awe of their splendid form; a thing of beauty in our otherwise less than beautiful flat in Camberwell, south London. I made drawings of the flowers and sometime later developed some patterns from it, screen printing it as repeating designs and placement prints. I created the motifs by deconstructing the elements that constitute the flower head.
More years passed and sometime around 2012 I revisited those screen printed patterns, this time interpreting them as lino cuts as part of my Plot to Plate series of editioned lino prints. Last year I planted two passion flower plants in our new garden and last week we had the first bloom. It took me right back to that first flower in the flat in Camberwell, and was reminded of the pattern again.
Whenever I look back at old work I’m likely to want to make changes, and this is the case here too, but each design also holds a moment, defines a time, and sometimes that makes it what it is. I’d not imagined I’d connect that flower to my practice almost twenty years later…
This pattern remains available as a set of patterned Plot to Plate greetings cards.
My mind tends to want to be busy and I often develop several ideas in parallel. Pattern making and pattern evolution ideas are shaping up so I went back to the lino block and started to cut – I find it best to make the idea come to life so I can work through the potential and pit falls. Watch this space …
Several weeks ago I started, with no other intention other than to pass the time, making drawings of the trees across the fields I could see as we waited our turn at the farm shop. This was simply about making time for me to clear my head of all the other stuff and pressures of this new routine we find ourselves in. Drawing is such a key part of what makes me tick, whether it’s for rest or work.
Week 2 came so I took my sketchbook and made new drawings that naturally evolved from the first week’s observations. In the second week I also took scissors to capture the shapes as paper cutouts in contrast to the lines I had focussed on in pencil. Each week I’ve made these drawings and over time I’ve noticed the growth of leaves, making it harder to focus on the tree structures, but I’ve also moved the drawing on as a familiarity of my subject is developing. I wrote a blog post on those first weeks here.
I’ve spent the last quarter century drawing landscapes with trees and remember a significant moment as a student of design, when I discovered the water colours by Crome and Cotman in the gallery in Leeds – particularly strange given they were from the Norwich School and I’d left Norwich to study in Yorkshire, but maybe that was the initial pull. I studied the way they divided the landscape with brushed areas of paint and they helped me to see that I too could explore ways to stylise the way I saw the landscape.
The drawings included in this post are all from week 5. I’ve added hints of fields containing the trees and those lines of containment are the edges holding the paths of trees. I’ve used the horizons from both a vertical and horizontal viewpoint and continued to stylise the tree forms throughout the five weeks. It’s getting harder as the trees flesh out their forms and we lost the details of the branches. I’m also suggesting depth of field with the scale of the trees near and far although I’m pulling the composition down to stretch out and extend the foreshortened landscape.
Throughout my career I’ve toyed with ways to map the perspective of landscape and use diagrammatic language, perspective and distorted elevations to represent viewpoints of 3D in 2D. The intention of the arcs was to suggest the sweeping viewpoint but in fact I think it hints at hillsides, and that really isn’t the case here in Norfolk. An undulating landscape maybe, but certainly not rolling hills – still, we can’t get it all right!
I’ve thoroughly enjoyed this drawing exercise so far and look forward to week 6 and what the drawings will discover next time. I’m also, rather naturally I suppose thinking about pattern evolution and how these may become design work. I have lots of ideas to mull over and be excited by … but there’s no rush.
Having posted some of the drawings on instagram over the weeks I’ve received lovely comments and messages from people enjoying the drawings and I’m so grateful for the votes of confidence in what I am doing, I really appreciate that. Many thanks, I hope you continue to enjoy the drawing! ….