prints on plates

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.

I spy hospital patterns

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!

winter palettes

I’ve not had much time for colour mixing with gouache recently but I’ve really enjoyed noticing the contrasts of seasonal colours on our walks so I thought I’d celebrate that here. Some colours are exaggerated by bright sun, while the recent frosty mornings provide a muted coating.

Taking time to notice these small delights are ever more important as we spend few hours outside. I noticed today there was daylight in the sky at 5pm, so that and the first sights of snow drops and daffodils are putting me in the mood for springtime.

Colour Material FINISH

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!

CMF of Christmas, 2020. Kate Farley

Autumn colour swatches

I’m not the biggest fan of Autumn, mainly as I hate to accept the end of summer, but every year the colours of the new season are beautiful so it is difficult to stay disappointed for long. Having spent a week in hospital recently I really missed seeing nature so once out again I noticed a heightened awareness; my senses really enjoyed connecting with the outdoors again.

Wheatfen Nature Reserve, Norfolk

Over the last few months I’ve been paying more attention to colours of nature, gathering plants, feathers, shells etc and mixing the colours using gouache – see previous posts – I find it a wonderfully meditative process and one that brings great results too. The process really makes me look at the colours of the artefact and work out the nuances of hues, tints and shades. I’ve taken some slow recuperative walks in the countryside to rebuild my strength, allowing me to gather colour and appreciate Autumn. The colour chips here were made from the leaves from one tree, arranged in colour order. I wanted the colour to be the main thing to identify rather than them being leaves, so by trimming the edges of the leaves I’ve made them more like swatches.

leaf colour chips

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.

Brassica purple, harvest time

Having sown the seeds for purple sprouting last summer it has been the usual long wait until harvest time, but we have been picking it for the last few weeks. It always feels good to pick the brassica because the new season of crops are a while off harvesting.

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The purple of the sprouting inspired my colour palette for the Plot to Plate tea towels.

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I can’t resist colour matching, so here we are again …

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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.

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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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international pattern collaboration

It all began in an email with the subject line, ‘Hello from Tokyo’ I received in November 2017, letting me know how much my tea towels for David Mellor were admired in a Japanese design company. The email went on to ask if we could discuss a potential collaboration for a capsule fashion collection featuring a print designed by me. Firstly I was excited to think my patterns had made their way to Japan, but secondly, that sounded a great idea, tell me more! A few email exchanges later, and we agreed to meet the next time the company director of Stamps Inc. was in London so I could show him my portfolio to discuss the idea for the new pattern they would like to commission for their fashion collection.

The meeting with Shu and his colleague Yoko in a central London hotel was exciting; I showed my work and it was met with positive discussion. I was also reintroduced to the tea towels that had made it to Japan all the way from my studio, via a David Mellor Design shop! We sat at a large table and I showed them my portfolio, spreading the many sheets out covering the whole surface. Having shown all the other work and following some discussion in Japanese between colleagues, the director chose the very first page he had seen – the cover page! The choice was not what I was expecting but we shared and developed ideas for me to sample: colours, time-lines and garments. We then took some photographs to record the start of the project together, for when we would be able to share our story – and even asked the hotel doorman to take a pictures of the three of us with a London bus behind us.

The selected design was a graphite pattern of pencil scribbles of varying tones and rhythms, later to become the title of the collection: Scribble. There are lots of variables such as scale, rhythm, tone and  overall order in the pattern we had to make decisions before I set about creating the final artwork. I emailed across some small sketches to explain the repeat process for production to check we were understanding each other as we had to ensure we understood the terminology that each of us used in our different languages.

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I shared several images of new drawings to provide the variations / considerations over email before committing to the final design. The final fabrics were to be screen printed so I planned to draw out the whole design in full repeat by hand (approximately 60 x 90cm), scan it in and transfer it to Japan for screen print production. I started the large final drawing twice as I wasn’t happy with the first one. Initially the marks I drew appeared tense, but I also had to work out how to create the different qualities with the pencils across a vast piece of paper, and how not to smudge the areas I had drawn. I drew the design at 80% scale to make scanning it in possible, meaning I had to take in to account the slight increase in the size of the marks in the final result. I also had to ensure the top of the design matched the bottom, as the edges were to act as a cut-through for the screen printing process of repeating the pattern, fitting like a jigsaw, top to bottom. The design was edge to edge, left to right, fitting the width of the fabric so there was no horizontal pattern-repeat.

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The final artwork took almost ten hours to draw, and I did that mainly over two long evenings. I had it scanned in at a very high resolution, adapted the size of artwork to 100% and sent the digital file to Japan – with my fingers crossed that the printer could work their magic, including colour separating the graphite tones for the two screens each colourway would require!

There was a wholesale launch in Tokyo so I sent some of my original drawing samples over to feature as framed artwork in the exhibition and I was sent photographs of the lengths of fabric on show. Very exciting! Orders were placed and there was a good response. A further email request came from Japan, to meet again in London to see the fabric. Another exciting moment – also scary – what if I didn’t like the results!? In the stylish interior of the St Pancras Renaissance Hotel lounge there was no need to worry. Great care had been taken to translate my drawing to screen printed cotton lawn fabric, in two colours – referencing the two colours of my David Mellor patterns Chelsea, in grey, and Pride in blue. The fabric felt beautiful and the printing fabulous. It was a special meeting.

I was able to see the marketing material including my name alongside Japanese text I couldn’t decipher, describing our meeting and the collaboration. I have had to be patient while the wholesale launch orders were being produced before we can promote the project I’ve had to keep under wraps for well over a year … until now!

It has been an absolute pleasure working with Shu and Yoko, learning about the company and their pride in who they work with including the products they develop. It has been a highly successful collaboration from my perspective in that we have discussed all the aspects of the process and trusted each other to do the best for it, each learning about the other and having good communication throughout. We have shared news of the differing seasons and national events over the course of the project, and they’ve watched via instagram as I’ve moved homes and jobs. I’ve loved having this connection with people in another corner of our world, created as a result of some tea towels I designed over five years ago!

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weaver extraordinaire: Anni Albers

If you are interested in textiles and haven’t heard about the Anni Albers show now on at Tate Modern in London, then a.) where have you been? and b.) get there fast if you can!

This has been a much anticipated show for me. Having been enjoying many other people’s pictures via Instagram since the exhibition opened I was most excited to get to the show and I’m so glad I did – I went round it several times and breathed in the history I had learned as an art student myself; typewriter patterns from Bauhaus lessons, the infamous diploma piece with sounds absorbing properties in the yarn, and those classic Bauhaus photographs, but there was so much more. Colour, cloth, pattern, rhythms, photographs, works on paper, products … The woven structures and yarns drew everyone in for a closer look – so much so that the alarms kept being set off and the guilty took a sheepish step back! There was a fascinating display of the research of historical textiles from Albers’ own collection that made perfect sense in how she interpreted and worked with the process of weaving.

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Experimental, commercial commissions, religious pieces and jewellery are some of the aspects of this considerable show. As with most well-received shows, the audience conversations themselves were fascinating; lots of discussions about experiences of weaving, hours at the loom as well as working out what she must have done.

It has been the architects, the painters and the product designers, usually men, who have become far more well known from the Bauhaus, including Anni’s husband Josef Albers. The avant-garde German art school’s first director Walter Gropius stated there were equal opportunities for all when it was established in 1919 and yet women were generally encouraged towards the textiles workshop, a place and craft deemed more suitable. Anni never let this distract from her focus despite wanting to be a painter. Her creative output of a lifetime, as edited in this exhibition, goes a long way to demonstrate her will to explore both the context of design and the development of art. She will have no doubt inspired many who have been introduced to her as a result of the show and her legacy will continue to influence far beyond the context of textiles as a craft for women. I came away with many notes and a head filled textile excitement – happy weaving everyone!

Exhibition ends: 27th January 2019