drawing on the landscape

I’m sure I’ve written about it before, but I’m often intrigued how an idea can rattle about in my head for years, exist as drawings or collages, but not quite feel right… then manifest in a way that makes those years of waiting make sense. I’ve recently created a sequence of three drawings that appear to have done just that.

Drawing is a key creative process for me. I don’t always find as much time as I’d like but I draw to capture the beauty of a flower, or the shape of a field, and often have no planned use for the image; the drawing exists for itself. Over the years I can see drawings are linked by a longer-term inquiry, and these single elements collectively define the aesthetic of my practice.

I’ve been working on some new landscape-inspired drawings, bringing together some colour mixing and the monochrome marks, rhythms and textures relating to the Norfolk landscape. I began with a journey through the drawers of my plan chest to pull together a dictionary of visual language to guide me, and following a cycle ride in the landscape I took pencil in hand, and began to draw. Painting features very little in my practice, really only for colour-mixing but this time it felt right to capture the colour in gouache and apply directly with brushes on to the paper, layered up with the graphite of the drawing.

These drawings are part of the ongoing journey, but I do think it’s important to stop and notice when something feels right, like a good fitting piece of jigsaw in the puzzle.

postcard project, 20 years on

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.

postcards in Sky Blue Pink, from February 2001, by Kate Farley

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.

postcards in Sky Blue Pink, from February 2001, by Imi Maufe

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.

postcards in To and Fro, from March 2001, by Kate Farley

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.

postcards in To and Fro, from March 2001, by Imi Maufe

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.

both editions: Sky Blue Pink & To and Fro, published 2001

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!

You can find out more about Imi’s practice here: http://www.imimaufe.com

mixing and matching colour from the beach

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.

colour mixing nature

Back in March I began a new series of colour of works on paper that were simply about mixing and matching colour, evolving hues through the process of painting individual swatches to build the narrative in a sequence, as if a technical exercise at art school. You can read about those pieces here.

KFarley_grass_gouacheI’ve continued to gather pieces from nature on the walks I’ve been on this summer and have continued with the process of mixing colour and so I thought I’d share some here.

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I’m doing this simply as I love to make colour, and really enjoy working with the gouache paint for its colour qualities. The process occupies my mind, suggests potential avenues for future work and connects me with nature through the mementoes I make. The seasons change and the colours alter, but the swatches hold memories in the process of mixing, and I can almost smell the dry heat of the corn, and the cool shade of the wood where I found the Jay feather.

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passion for passi flora pattern

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.

passiflora_web

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.

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printing pattern progress

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 …

KFarley_linoprint

 

New drawings for sale

I have made some pencil drawings from my recent trees project (previously featured on the blog) available to buy – there are currently eight still available.

They measure approximately 28 x 19cm, on heavy weight paper, £55 each, with 30% going to Cancer Research UK.

Do take a look over on instagram where they are all listed, & message me if you are interested in reserving one. Feel free to spread the news – I don’t often sell my original drawings ….

Here’s drawing 1, 2, & 3 …

KF_drawing1KF_drawing2KF_Drawing3

drawing evolution – perspective and mapping

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.

KFarley_Wk5_1_4

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!

KFarley_wk5pics_4-8

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! ….

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drawing to see, drawing to notice.

Drawing has always been a great leveller for me and now is no exception. I make drawings to capture something I like the look of even if I haven’t got a clue how it might be useful at that time. Picked grasses, a homegrown tulip or a fragment of fabric all provide challenges that relax me but also creatively inspire my lifetime of looking to draw – it’s not a coincidence there’s a play on words with drawing in my blog name.

Having some time spare while sat in the car at the local farm shop car park three weeks ago I took a good look around me at the view and with the luxury of time I took out my sketchbook and drew a line. This was a landscape already familiar, but in drawing a subject it is with a closer examination that one can see more.

Firstly I noticed the skyline meeting with the trees in the distance but as I drew that line it was being interrupted by the nearer trees cutting over the fluidity of the horizon. The trees contained strong shapes but not as the summer masses they will hold in full leaf in due course. The branches were clearly defined, but the added haze of smaller branches suggested the fuller form.

I made reasonably quick sketches of the same view several times, each time starting with a different area as a focus. Sometimes it was the gap between two trees, or a distant field and as I became more familiar with the shapes in front of me I engaged with details of branches to define the structures of the trees. I focused on three clusters of trees that provided different visual qualities but were united by the view.

KFarley_wk1_ALDIS_blog

The process of drawing and re-drawing the same thing is something I love to do – just as Monet would have painted the same cathedral or hay stacks. Where Monet was fascinated with the changing light and what that did to the colour and shadows, for me it is a process of understanding and familiarising in order to stylise and to interpret, usually in line and shape. As I get to know my subject I can edit in and out the information to simplify what I am seeing in working out how to record it.

This blog post shows the same landscape being drawn on three different trips to the farm and I think you can see the familiarity allows for more freedom of the information I saw and captured. In week 2 I also took to scissors to cut out the shapes in pieces of white paper, asking myself to identify the positive and negative shapes within the landscape – see the image below. I cut out the same trio of trees several times and they work well layered, as the interpretations of the same subject matter is similar but evolves too.

KFarley_wk2_ALDIS_blog

This notion of repetition in order to get to know something is a really key part of my practice as a pattern designer and I’ve evolved this relationship in my drawing over the years. As far back as art school I drew and printed in series of works on paper, with the evolution of seeing in order to pare back being the really important part of my process. I teach drawing as a ‘getting to know you’ strategy too. I suggest a student does not spend the first hour asking the really personal questions of the subject sat in front of them, but to make small talk, get to know the subject superficially first of all, then you can be more up close and personal over time. I think I’ve written about this somewhere on the blog before.

I’m really pleased that within a very short time of drawing I have looked, learned and recorded the view, and once again taken away my way of seeing that landscape overlooked by so many of us in our day to day routines. I’ve returned to this task and now have about twenty drawings from three consecutive visits. The trees are hinting at holding more green but the summer fullness is a while away for now. The buzzard circles and the tractor gets to work, I shall be back again, see below for the drawings in week 3.

KFarley_wk3_ALDIS_blog

evolving colour in the making

A walk in the Spring sunshine gave impetus to a very simple and mindful exercise back in the studio; to make the colour of the landscape. A sprig of willow contains so many different colours. Those colour qualities will alter as the clouds skud across the sky casting shadows, and as the sun ripens the buds.

KFarley_yellow_willow_1500_KF

With paints at the ready I knew it wasn’t about making the one colour, but the narrative of generating colour as my process of journeying from one to the next. I wanted to paint each of the swatches of colour I mixed as I evolved the paint story, observing and recording the subtleties of the change in hues. Selecting a limited number of tubes of gouache to begin made it more interesting. To start I selected the dominant colour I was aiming for, and had a little piece of nature with me as reference. I developed the swatches of colour, selecting one, and then another hue to achieve, step by step, slowly and patiently filling the page.

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Gouache is a beautiful paint and this exercise reminded me of a wonderful morning teaching colour mixing to BA1 Textile Design students earlier this year. Getting the right amount of water, ensuring the colours are cleanly mixed, and then making that one painted line flat and even – it all takes practice.

KFarley_ytubes_colour_1500_KFI was lucky enough to have excellent colour teaching during my time at art school and consider myself strong at seeing and achieving the right colour mix. At uni I remembering saying to the print technician “it’s nearly right, I’m happy with it”, and she’d say, “Kate, it’s not what you set out to make, keep going until you get there!” I thank her for teaching me that persistence and these days my students know I’m particular (a preferred word to fussy!) when it comes to colour. Getting the colour right is so important and you may as well enjoy the journey to get it right. Textile products sit alongside fashion and interior items made from other materials, and the colours need to match / coordinate, so quitting before you get the right colour may be a sales / employment disaster too!

Interestingly, some of my current students were discussing my approach to colour recently and one shared that I’m not keen on black outlines around shapes in print designs. Another one commented that they hadn’t heard that, but would keep it in mind. I jumped in to defend the comment I’d originally made – a black outline is too obvious, unquestioning, the default, rather like Times New Roman black typeface when you open Microsoft Word. Too easy. I ask students and designers to think about whether the black line is the best for the design. If you think of all the other colours you can use, I think you may find another and better alternative!

At the end of this colour mixing time I am left with souvenirs of the process, memories of the walk and beautiful colour. This is real colour away from the back lit screen I too often see colour from. I shall do this again.

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