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.

KF_Barbican_print_paperBLOG

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.

KateFarley_BarbicanPRINTPATTERN1200

 

Save

Advertisements

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…

KateFarley_weave2

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.

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

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!

KFarley_knit1_blog.jpg

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

KFarley_meadowgrass_print_blog

 

 

 

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.

KFarley_landscapePRINTSweb

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.

KFarley_landscapePRINTSbooksweb

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…