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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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.

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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.

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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?

print progress

Recently I have been really busy with a variety of academic duties in Birmingham and further afield, taking me away from studio time, my freelance design practice, and of course blog writing. Also, in my teaching of Textile Design at Birmingham City University I have been leading a module of professional practice, assisting the students in learning about the life of a freelance designer. It’s definitely a double-edged sword, as the discussions between students and staff illustrated: It’s great to be your own boss, but you take all the blame when things don’t work out! You can get up when you want, but nobody pays you for just waking up!

The rhythm of freelance work is varied. Somehow it’s often the way of things that several deadlines coincide, and when you have a schedule to stick to, an urgent press request comes in. On the day you have time to make calls, those people are out of the office, and obviously you don’t get paid when you take a holiday. Yes there can be tough times, but I really like the variety of the weeks’ activities that freelancing gives me, certainly set in tandem with the academic life of very different demands. Each practice informs the other. Obviously there are freelance tasks I prefer and other ones I procrastinate over, lists are created, social media is checked and Radio 4 is listened too!

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With so much to-ing and fro-ing on trains this last month or two and with several commercial projects on slow-cook I decided to give myself time to make, test and resolve some ideas that I have been exploring, with paper and print. The activity of printmaking is a fabulous discipline to work with. I love the excitement of planning a new print, and composing the plate, often taking me back to sketchbooks and previous ideas. The physical process of cutting the block can also be absorbing, and therapeutic and I have to decide the paper stock, the ink colour, and edition size too. It is important to maintain an experimental, inquiring practice and my prints and drawings are the evidence of ideas that have sustained my creative practice for the last twenty years. Between the commercial constraints of projects shaped by clients, costs and repeat patterns, printmaking can seem so free from limitations. This is why I make sure I keep printing – the creative sort, not just the invoices!

both prints featured here are available to buy, at £46 each unframed.

Knit 1, edition of 15, lino print, 9.5 x 9.5 cm print size

Meadow Grass, edition of 12, lino print, 9.5 x 9.5 cm print size

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printed mapping

Printed interpretations of landscape have been a challenge in my practice from the beginning, and really formed the backbone of my practice during my degree course in Printed Textiles at Leeds College of Art and Design in the 1990s. I explored various ways to represent the world around me, and although it might seem odd for those aware of my drawing, as there is little similarity now, I was really inspired by the Norwich School and painters such as Cotman and Crome. I saw the way they formed shapes of colours as elements in the landscape and I set about creating contemporary versions of Kirkstall Abbey in Leeds in term-time, and rural Norfolk in the holidays.

Over the years my focus has shifted from rural to urban, resulting in more geometric, grid-like patterns, fighting the urge to be illustrative. As Print Technician at Central Saint Martins I used to create mono-prints including embossed features, representing the Farringdon skyline and dominant buildings. I also explored experimental processes, such as liquid emulsion and photograms of drawings on acetate in the photographic darkroom. I had a fantastic year on a part-time printmaking course at the London College of Printing (now Communication) at Elephant & Castle, and despite a broken elbow I produced many prints including lithographs, screen prints, collagraphs, etchings and lino prints. The expertise of the staff, and the discipline of the day a week of technical experimentation was a brilliant thing.

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The images above include some of the many ways I have printed the landscapes I’ve experienced, and show some of the ways that I play with line, shape, texture and colour. Those of you who have seen my drawing evolve will probably recognise a preferred line quality, or mark I favour, the economy of mark, and visual rhythms. I am also interested in perspective, elevations and mapping interpretations. I continue to explore landscape in my ongoing sketchbooks, as part of commissions, but also because I simply want to draw and capture the flat fields, the lines of fence posts, and sweeping hills interrupted by a barn.

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I’ve also created many editions of bookworks over the years, and although I’ve written about them here before, I thought I’d include the ones predominantly featuring printed journeys. I love the way the sequence of pages, and folds of paper creates narratives through a landscape. Again there is maybe a familiarity of line quality, and drawn shape, as drawings, prints and books are often developed together, as part of the same creative process. Working summers in France, familiar territory in London and train journeys are regular inspiration for the books shown here. It is a challenge to design the book to work with a particular sized printing plate or sheet size of paper, considering grain direction and readability, but I enjoy the problem solving. Drawing and image has to work with structural content.

Often what is occupying my time in terms of design collections actually grow from ideas explored in those pages many years before. I like to see my relationship with landscape as the constant in the variety of what I do. Having spent some days in the country during the recent holiday I have refuelled that desire to draw horizons again.In hearing of the death of Ellsworth Kelly I am reminded of how instrumental he was at showing me how to see pattern in the environment we live in. I owe the excitement of the journey to many artists who themselves have worked hard to capture the places they know… Patrick Heron, Ben Nicholson, Eduardo Chillida, Eric Ravilious, to name a few.

Since creating these works on paper I show here (some over fifteen years old) I’ve launched ‘Plot to Plate’ and ‘Construct’, but they wouldn’t be here without the many sheets of paper before them. Who knows what else is in store in the next few years…