patterns: printed or not

My go-to process is print, therefore the majority of my commercial projects have included print outcomes, whether that is a commissioned limited edition print, wallpaper or my patterns available on Formica’s laminate. I design as a printer; thinking of layers of colour / texture / pattern, that build in stages.

I knew early on that paint brushes are not really my friends, not unless they have to be, not compared to a print roller. When I was introduced to printing I vividly remember learning mono-printing in particular. I fell in love with the excitement of the hidden surface. I love the detachment, the indirect nature of printmaking, whether it be a lino block or litho plate, they offer a space away from the actual mark making that creates the image.

I’ve been spending the last few weeks writing lots of words with my academic hat on about my design practice in relation to my teaching practice, and this has made me think about how I learn, as well as how I teach. My design practice experience is so integrated in my teaching practice, they work so well together. I can be in a business meeting learning about an industrial print consideration I didn’t know about for a specific product and immediately I’m thinking of how I can feed that knowledge in to a module on the BA programme I lead. In my mind it makes perfect sense for academics to be practitioners too, albeit with lots of juggling!

I love to learn, whether a process, a way to see in order to draw, or a new context to place work, I am excited about finding things out. It was this mindset that got me making rugs, to challenge my skills, and to test myself with another process that works with pattern, but with very different thinking. There has been much written about the need to play, but as designers it is so important that we take time to explore, to develop our thinking. This keeps ideas moving, and the sense of creativity at the forefront. I’m also fascinated how my patterns work across surfaces / materials, requiring consideration of colour matching, scale of motifs, line weight etc. and this expertise is learned as I work with manufacturers of different materials and products, and visit trade shows across the design sectors. Don’t get me started on brands that just print their patterns on every surface that sits still for long enough… my students hear this rant often enough!

I shall continue to explore, learn, design and teach… just after I’ve finished writing this next batch of academic words…

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Images from my ‘Threads’ collection (L-R:) Latch-hook rug, original lino print: Twill, and the same design on window film from The Window Film Company.

contexts build connections

Over the last twenty years the contexts for which I have made work has varied considerably. The intimate space of a page in a book, a sequence of doors in public conveniences, a gallery wall, patterns made in gravel on three large roof-scapes of a hospital or the humble tea towel; they all require different considerations. The client, the audience, the buyer and the customer, each has different agendas, budget requirements, aesthetics and expectations – I enjoy each challenge and added dimension that brings. The opportunity to consider my practice in these differing environments creates a chance to reflect and develop a greater understanding of possibility and relationship with the context of known work while developing an understanding of those different people and their agenda and perspectives.

More recently I’ve been working on design projects away from gallery walls, but I was delighted to be asked to be involved with Ambiguous Implements, a touring show featuring 17 practitioners across a wide range of creative disciplines, exploring domestic and familiar objects in alternative ways.

The contact came from a journal my ‘construct’ design work was reviewed in called Feast. I had been pleased with the care Laura Mansfield and the team had taken with understanding my work for the article in Feast, and for this new invitation I was delighted to include both some original drawings from my ‘Construct’ project, as well as metres of Construct: twist, in a bespoke colourway, as the nod to domestic interiors for the gallery settings. I was also asked if they could use my words, spoken casually during a conversation over the phone, but seemingly capturing the essence of the exhibition.

“a familiar object provides an unfamiliar forum for thinking” — Kate Farley

It’s funny how little conversations, and apparent one-off opportunities build networks to develop, support and enable both parties in different ways. I’ve been grateful to Laura and her team to be so considerate and inclusive, and to allow my work to sit in a very different context, thereby enabling me to consider the work further, evolving and existing in new ways. The other practitioners make very different work but the conceptual connections and mutual respect for others practices can also grow further understanding beyond the single opportunity. I’m pleased to be involved, for the development of my practice and the context of ‘construct’.

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Information:

Ambiguous Implements has been curated by Laura Mansfield in collaboration with Rachael Colley and Nuala Clooney. Funded by Arts Council England, supported by Dust and Simon Taylor Designs.”  https://ambiguous-show.tumblr.com/about

Ambiguous Implements is at The Bl_nk Space Gallery, Roco Cooperative Sheffield  until Saturday 15th July opening Tuesday to Saturday 11am- 6pm. Other venues

“Bringing together 17 practitioners from the fields of design, jewellery, ceramics, metalwork and sculpture Ambiguous Implements presents a collection of contemporary works that playfully reconsider the familiar objects of our day to day domestic life. Re-thinking the tools we use for eating, grooming, cooking and cleaning, the exhibiting artists have employed and subverted traditional craft techniques, reframed existing tools in new sculptural assemblages, or given seemingly banal objects new functions and effects. The collection of works present a twist on the familiar, bringing new perspectives to bare on the objects that populate contemporary domestic life.

Rob Anderson, Aimee Bollu, Caroline Broadhead, David Clarke, Nuala Clooney, Rachael Colley, Rosie Deegan, Kate Farley, Daniel Fogarty, Kate Haywood, Jasleen Kaur, Julie Mellor, Maria Militsi, Rebecca Ounstead, Matt Rowe, Jonathan Trayte and Abbie Williams each present new and existing works.”

text from https://ambiguous-show.tumblr.com/about

 

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.

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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.

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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.

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threads of an idea

It’s perfectly normal for me to begin a project by looking back at work I have made but not quite resolved. I keep sketchbooks of ideas and samples of constructions that will never see the light of day but somewhere among the pages there will be inklings of ideas that appear to connect and weave in to something right for now.

I wanted to get back to printing so I took the opportunity to explore a number of processes, including mono printing and lino printing to explore line qualities I’d sampled before, and soon I was back on the idea of woven yarns, linking my construct collection launched in 2015. This was a collection inspired by woven cloth, with drawings using hand-made tools dipped in ink that were used to create a series of repeating patterns I went on to collaborate with Formica with. I wanted to challenge the abundance of ‘faux’ material surfaces on the market, digitally printed wood-effect pattern, for example. Ideas were still left open…

Running in parallel to this has been a long term paper project I have been toying with since about 2002; paper constructions that explore the depth of space beyond the page, a sculpture, but also a book. The build series grew to explore woven space of over and under. You can see some of the pieces below.

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I see the threads collection as an extension to construct, but is equally quite able to stand on it’s own. I have produced several editions of prints and paper constructions that led to where I have come and I enjoyed printing in Payne’s Grey to not be distracted by colour.  All of a sudden I’m working with clear, colourless window film – it all makes sense. I am delighted to have worked with The Window Film Company to develop the patterns for windows. They have been an amazing company to work with. Cheerful, prompt, generous and supportive in all aspects of working with the team – a big thanks to you guys!

I was also pleased to return to laminate and Formica to enable bespoke production and am delighted with the results. I’m enjoying working on designs for harder surfaces but I still can’t help but sample other materials, so the collection I shall show at London Design Festival includes a new rug sample, screen printed cloth, and hand-made notebooks featuring patterns from the collection as well as vinyl and laminate.
If you are visiting London Design Festival I hope you will come and say hello at Tent at London Design Fair. Hall T1 stand G18

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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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pattern prints

I’ve been working behind the scenes, offline at least, making new prints, mainly lino prints, and developing repeat patterns with them. I’ve not wanted to show the progress until I’ve worked out where I’m going with them, but finally I’ve decided to go public, in a small way, revealing one of the new prints, hinting at the direction my new patterns are going in…

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I’m exhibiting at TentLondon again in September so between now and then I’ll show more on instagram, Twitter, Facebook and here on my blog.

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!

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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.

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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!

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