drawing grass lines

I’ve written many times over the years on this blog about the themes that underpin my work, the approaches I take to develop new work, and the things that inspire me. Here I look again at the process of evolving ideas and visual language, to introduce my latest series of prints.

As I develop ideas, often in series of works on paper before any design solutions are considered, I explore the visual language of the subject through drawings, photography and printmaking. The aesthetic nature of the new work evolves and is tested in relation to compositions and rhythms. My knowledge of pattern design, in particular in relation to textiles, feeds this investigation. The motifs, the linking forms, the negative and positive shapes and the quality of line can suggest relationships with historical styles, international influence and contemporary trends. As a designer I use this knowledge to sometimes avoid, and sometimes align to this language, communicating a context far beyond the printed paper I create.

On a cycling and camping tour around Denmark back in 2004 we came across a small book shelf in the campsite shelter containing a range of books. I can’t read Danish. We picked out a few, judging them purely on the graphic design of the spine, and I found a science book of beautiful diagrams of plant structures. I have a photograph somewhere, but the impression those diagrams made on me does not require me to see that page again. I remember the look of those diagrams, and they have fed in to this collection many years from then.

Mid C20th pattern is also something I am interested in, and for this new body of work, particularly the development of stylised florals and diagrammatic interpretation of plants. Lucienne Day was particularly expert at creating designs in that manner, with simple black lines, herself inspired by Miro, Kandinsky and Klee. This is why it’s important to be aware of what has gone before. Not to imitate the past, but to take courage from previous developments in drawing, stylising and pattern making, so we don’t recreate the past, but so we push forward with our own journeys, liberated by not inventing the wheel. I was amused to discover the current exhibition at the brilliant Whitworth Art Gallery in Manchester is Lucienne Day: A sense of Growth – it seemed uncanny!

My photograph collection, both in print and digital form, contains many pictures of reeds; Danish reeds, Norfolk reeds, anywhere else reeds. I also have many records of grasses, and have always been attracted to the structure of such plants. These are often the unloved weeds that may be irrelevant and overlooked by many, but I come back from walks with handfuls of lines, some with seed heads, some without, but always lines of grass, as if nature had fun drawing them. Different stems, leaves and weights of line, and some suggesting very distinct natural habitats. I’ve always been more interested in line quality than texture, and my work over the last two decades demonstrates that very clearly.

KFarley_drawngrass

So that was a long-winded way of saying that this new series of works has been a long time coming, but makes perfect sense to me. I didn’t set out to create drawings of grasses, in fact I started screen printing flowers, but this evolved as part of the create process that is play. Colour came and went too, so as not to detract from the lines. There are some similarities with my threads printed editions and I have had the prints next to each other today – I think they make an interesting dialogue. This is the journey of idea development, by mixing drawing, thinking, printing, reflecting, contextualising, and doing it all again. By the way, this bit of the creative process is one that is very difficult to teach design students, more so with less and less studio time, and a full to bursting curriculum, but knowing your own creative process is halfway to success in my world. Take risks (it’s not rocket science we say) and work at playing.

KateFarley_grasslineslino

I digress. These few prints are only the start of this series, I already have new work evolving, but other projects are jostling for my time in the studio, so for now, I introduce you to Grasslines… and now you know a bit about how they came to be.

KateFarley_Grassline3

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.

kfarley_envelopeinsides1

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

kfarley_envelopeinsides2

 

 

 

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.

bcu_textiles1901_1

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.

bcu_textiles1901_2

patterned walls and windows

They have been a while in the making, with lots of drawing, designing, discussions and sampling over the last ten months but my designs for Tektura Wallcoverings have been launched, and I’m delighted to be able to share them here. There are five in total so do visit the Tektura website to see them all. The images of the drawings are mine, the product shots are courtesy of Tektura.

I was working on the designs at the same time that I was developing my ‘construct’ collection and Tektura really liked the look and potential of those designs but I needed to build two distinct looks to avoid a conflict of interest. You will see similarities but I utilised different drawing tools and pattern systems to explore a variety of options in my markmaking. I created many sheets of paper full of inky motifs that eventually, after a lot of design development over several weeks both on paper and at the computer screen, became digital artwork to hand-over for production. At Tektura the colours and scale of pattern were sampled and marketing / sales information was created for the launch. One thing I find hard is naming the designs, and this was no exception. The thesaurus was called upon, as was Google to check existing references, and a colleague at BCU also contributed – thanks Clare! In the end the names pretty much describe the pattern. I won’t be a poet anytime soon!

KFarley_TekturaDrawings_blog

My past experiences of working on large interior / public art projects enabled me to work with the scale of the potential interior environments that Tektura provide for in my mind the whole time. These designs for Tektura can be customised and applied to wall and glass surfaces and so as I designed I maintained modular components that can be re-coloured or omitted for each client’s specifications. This is a wonder that digital production can provide; enabling bespoke solutions.

KFarley_point_tektura_blog

For me this project highlights key values in my practice: the importance of drawing and hands on image-making, knowledge and understanding of digital production and product context, and the value of working relationships and good communication. Each client I’ve had the pleasure of working with over the last fifteen years or more, whether it’s the design director, art officer or buyer can really shape the design process they are commissioning. From outlining the brief, to negotiating the design direction as well as final sign off, these things make a big difference to the designer, often working far beyond the hours intended in order to allow sufficient time to reflect on the design process and outcomes. Digital communication allows artwork and thoughts to be shared and discussed in minutes, and decisions can be made together.

The great thing about working with companies such as Formica and Tektura is that they are industry experts with fabulous products, trusted by the market. By working with this expertise I learn more and get to understand the design world from their standpoint. Who would have thought my patterns would be on such a stunning shiny surface as Glint (below)! Working with Tektura Wallcoverings has been a pleasure and I’m proud to show the designs off. Thanks to Angela and the team!

KFarley_splodgeTektura_Blog

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

KFarley_whitworth_May16_100

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.

KFarley_PalladioMagnus_blog

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…

building / constructing / space / paper

I’ve been working on a new series of works on paper that have evolved from paper cutouts and manipulations I first created over ten years ago. Back then I was experimenting with sculptural paper engineering that aimed to convey meaning through the structural content as well as the printed image. This may sound very much like ‘bookart’ talk, and it is really, as I moved from artists book maker to something different, including public artist and surface pattern designer, see below.

KFpaper_structure1000blog

It’s a strange thing when ideas that had seemed so disparate appear to come together to form a ‘whole’ different idea – and feels right. I’m sharing the first of many new prints evolving along these lines here.

As a result of my design collection ‘construct’ I launched last year I’ve explored the idea of woven threads and constructed surfaces. This led me to explore the space and environment of a page, a sheet of paper, and what could constitute the printed page. I used embossing to create a sense of space and depth, and slotted the ‘print’ to the paper as if floating. I am keeping the ink a neutral Payne’s grey so it doesn’t conflict or distract from the structure. I explored several different printed patterns too, and this, a lino print provided me with sufficient visual noise, but allows the embossing to be seen too.

KF_build_blog1000

So, what do you think? Does it make sense? I’m looking forward to exploring this further over the next few months.

How will these pieces link to the work I shall make in another ten years?

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.

KateFarley_springtime16_Plottoplate