textile design

seeing red

/ katefarley / Leave a comment

My world is pretty colourful; on a daily basis I’m in contact with colourful textures, materials and surfaces from fashion, interior and architectural contexts. Not only do I work with hard and soft surfaces in my design practice, I also teach undergraduates to work with colour in relation to textile design. It’s important to see beyond the broad definition of colour by name and to think about the context of colour; the surface qualities in that colour, the effect the material has on colour, such as gloss, matt and opaque for example.

Last week I managed to update some colour charts in my studio resources and it made me think about how we tend to have particular favourites when it comes to colour. I certainly have a comfort zone in sections of the colour charts and other areas I’d have to be persuaded to go near. Commissions often include discussions with clients about the intended colours of products, and I enjoy the challenges of pushing the boundaries of my comfort zone – within reason! I have a different palette I’m happy to wear compared with what I’d live with, and I certainly dress in colour relating to the mood. I remember many years ago dressing in very colourful clothes only to receive a rejection for something that mattered. I felt gutted I’d dressed for the wrong outcome!

Here are some REDs… I love the border colours between red and orange.

katefarley_red_100

 

 

learning with archives

/ katefarley / Leave a comment

Recently I have been sharing joys from the fabulous archive of textile samples belonging to Birmingham City University’s library, some dating back from 1901. Myself and a colleague have been showing these treasures to our students, helping them to see their own learning as part of a history of design practices. In an age of the digital file it’s been fabulous to see how much interest these portfolios have generated with our students. It’s a tough call as we worry for the protection of these fragile items, and yet value being able to see and interact with them.

bcu_textiles1901_1

Being able to turn the pages, and reveal the hundreds of printed swatches is really an exciting journey and the students really engaged with the quality and preciousness of the items. The fact that all the samples are beautifully hand mounted and labelled adds to the beauty and experience. The range of design compositions is considerable, and the detail stunning. Tiny little flecks of print; an anchor, a petal of a flower, or coral texture printed on fine cloth demonstrate quality of the day. We noted the generosity of many designs, and discussed commercial appeal and production methods available before screen printing and digital printing possibilities. Of course this is pertinent at this time of financial cuts in the support to local and national libraries and associated archives, and with arts and culture being sold to the nation as a rather nice hobby we just can’t afford at the moment.

Seeing things with our own eyes helps to engage with the subject, making things real, and adding value to the experience. I spent an extremely insightful day at London College of Communication’s Learning Through Objects event #UALOBL last month discussing this subject with fellow academics, researchers and archivists. Yes it’s easier to deliver another ppt to a large group of students, but sessions with objects and physical activity are the ones that are likely to make far more impression, and make the difference to learning we are aiming for.

bcu_textiles1901_2

passing on pattern passion

/ katefarley / Leave a comment

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…

Springtime shopping of Plot to Plate gifts

/ katefarley / Leave a comment

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

/ katefarley / Leave a comment

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

 

 

 

looks are deceiving: truth in pattern

/ katefarley / Leave a comment

As a student at art college I was taught the principles and beliefs of great artists, designers and theorists such as William Morris and John Ruskin, and mantras of the founders of De Stijl and the Bauhaus. As a designer myself I haven’t set out to follow any particular philosophy or approach but have developed my ethos over the last two decades as I experience diverse design contexts, clients, markets, technology and changing industry. Also, in my role as an academic at Birmingham City University delivering lectures on wide ranging art and design contexts in relation to textile design, social change and global influences I have learned considerably more and this has led to me further considering my own approach and philosophy as a designer.

My ‘construct‘ collection was developed as a response to my loathing of ‘fake’ surfaces, and the ever-growing interiors market of printed patterns of wood, stone and other natural materials, copied at ever-higher resolutions on a vast array of substrates. Is it possible to have printed stone effect on wood yet? Why would I want a copy, an imitation rather than the real thing, and would it be right to desire marble in an Edwardian semi in the Midlands of England? In my new ‘construct’ collection I’ve played with this idea by making printed pattern inspired by constructed cloth, not copying directly from the woven threads but evoking a sense of them.

As a pattern designer I spend time considering potential surfaces and contexts that pattern may exist and this leads me to the conclusion that if we stopped using copies of materials as pattern on surfaces we could find space for far more inventive, creative and exciting patterns in our world. I believe that if the material you have is not wood, why don’t you consider alternative patterns, entirely suitable, without relying on copying natural materials. I can’t decide who is providing for who here. Do consumers want fake, or do they have to buy fake because there is little else out there? (btw: If you need laminate with beautiful patterns don’t forget to consider my ‘construct’ range in collaboration with Formica!)

KFarley_construct_grid_logosWEB

The approach to honesty and truth to materials was one of many key philosophies for Augustus Pugin, known for his commitment to the Gothic revival in the 19th century and his design work on the Palace of Westminster as well as St.Chads Cathedral in Birmingham. He considered the neoclassical fashion for painting any surface to look like marble as deceitful, and wholly incorrect. He favoured flat, stylised pattern too, so as not to deceive the viewer,  designing many patterns for tiles, wallpapers and textiles for the buildings he also designed.

This week I was up in the Potteries for a meeting, and as with hourly trains, I’d just missed one so I spent 50+ minutes waiting in very low temperatures at Longport station near Stoke on Trent. Noticing my surroundings I was tickled to identify the ‘mock’ nature of the station building. All the doors and windows on the platform side have been boarded up and painted to look like… doors and windows. I assume this is some sort of security measure. As the paint has started to peel it revealed the deceit below. This sight is the cause of this blog post. I wonder what Pugin would have thought?

longport_kfweb

printed mapping

/ katefarley / Leave a comment

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…

print pattern show up and down… at Tent London

/ katefarley / Leave a comment

After months of planning, designing, making, printing, promoting and talking about the show… the time finally came… TENT LONDON! With very heavy bags, a display diagram, carefully planned tool kits, shelves, fabrics rolled, and so much more we set off to Brick Lane, London to put the show up. Our lives with small children are full of logistics, and this day tested us! Trains, tardy paint, luggage & childcare kept us busy and in relay between London and Birmingham so the show could take shape. By the end of the first day the majority of display items were on the right walls, fixed securely, and I headed home to the midlands.

The next day…. I set off again with ANOTHER heavy bag (these things don’t always get mentioned in trade show prep talks!) and completed the stand dressing, including the mood board for ‘construct’. It always takes longer than you think… I attached the vinyl, tidied up and left for a good nights sleep before the LONG first day of 10am – 11pm!

KF_tentstand1_G18_15web

The first day of a launch / show is always exiting and scary. Will people understand the new work, and will they like it? This particular morning was not helped by being stuck in a lift across town with my dear sister and only what sounded like a fax machine to talk to. Eventually after 20 minutes we were told the lift engineer couldn’t get the door open, “you are in a precarious position”!!! I’m not sure what customer care training he had received about talking to distressed people stuck in a lift. For anyone in this job, do not use the word ‘precarious’! We got out after nearly half an hour…

For the rest of the day I felt half an hour behind, but I launched my new collection with free limited edition screen prints which appeared to be gladly received by visitors. The collaboration with Formica Group was a really popular element to my new collection, and the mood board featuring my drawing tools as preliminary artwork inspired lots of really interesting conversations. Being a solo designer can be a very lonely, self-reflective existence so it’s great to get feedback from those you design the work for. Architects, interior designers, specifiers, stylists, press, retailers and many more visitors invested time to talk about all elements of my work, and for that I’m grateful. ‘Plot to Plate’ was launched in 2012 and has evolved over time to be a ready to buy interior and gift collection but ‘construct’ works differently. Only the cushions are available for immediate sale, and the rest is printed to order to allow for the distinctive element of the collection, the bespoke production. By working with Formica Group and Surface View my designs have been printed on a range of surfaces for the residential and contract markets.

When designing the stand I had to consider what I wanted to communicate and who I wanted to relate to. Over the years I’ve refined the ideas of what I want to do and the contexts in which I thrive creatively and this design show gave me the opportunity to put that understanding across. It was important to explain that I have lots of experience of creating bespoke pattern for clients and having just designed a new pattern for David Mellor celebrating the ‘Pride’ cutlery this was a great thing to show. It was really well received and orders have already been dispatched!

KF_tentstand2_G18_15web

It is very hard work minding a stand of your own, by yourself for several days. Every show I’ve done has been helped by the wonderful community of fellow stand holders nearby and this year at Tent London was no different. I met kind and sharing exhibitors I hope to stay in touch with, and I will certainly watch and support their practices on social media with interest. Thanks to you!

I’ve written this previously too, but as ever, I was visited by past students of mine from both my CSM teaching days as well as BCU Textile Design graduates, some visiting to inform their practices, others in their roles in industry. It makes me proud! I am also pretty good at spotting students and as long as they don’t just grab the postcards I support their efforts and questions as they are being proactive and engaging with the industry. London Design Festival offers something for any creative so it’s good to support the next generation.

Last year I made a dress using one of my new prints, and I did the same this year, much to the delight of the Tent London ladies! It was a great way to demonstrate the flexibility of my print designs, and a good way to make conversations; it became my uniform.

I also won a design competition for tote bags at the show to be printed with a ‘construct’ placement print, so some lucky people have a very limited edition screen printed bag!

The end of the show has mixed blessings. After a long few days and months of preparation it’s great to have achieved a strong show – many kind people commented on how good my stand looked, but it also means the adventure is over, and it’s sad taking the show down, packing it up and saying farewells. Even in a few days routines are created. We struggled back on the trains with what we measured later as being 59Kgs of exhibition and assorted support luggage between two of us, ready to follow up the contacts made…. and to sit down!

So what have I learned?

  • I learned that I really am making the work that I want to make, and did manage to communicate that with the right people.
  • I’m really proud of both collections, and am delighted at the reception that ‘construct’ received
  • and latch hook rug making! I learned how to make a rug and now know why they cost so much… but really enjoyed making it… with British wool!
  • I learned how important it is to take risks, to put work out there to be judged… to keep learning

Thanks to all those involved: family helpers, the Tent team, Formica Group, Surface View, fellow exhibitors and for everyone who came to visit.

KF_tentstand3a_G18_15web

Launching the pattern collection: ‘construct’

/ katefarley / 1 Comment

I’ve always started designing by picking up some sort of drawing tool, and exploring ideas that will have been developing in my head for some time. Concepts of pattern and purpose as well as communicating an idea using pattern is what really inspires me, this is no different for ‘construct’. A stunning image of lace in a book I was looking at while researching for one of my textile lectures on historical design caught my eye and an idea joined with other ideas of print looking like weave, as many people commented that my Plot to Plate VVV design did (left hand side of first image), when I was at Tent London in 2014. The seeds were sown.

KateFarley_startingLine

I’ve never hidden my loathing for faux surface / material effect pattern such as printed wood effect flooring. Why do we have to lie, why can’t there be another stunning and suitable design alternative?! With this is mind I’ve played with the idea of taking textiles as a starting point for this collection with the intention of subversively adding textile-derived pattern to other surfaces but in an evocative statement rather than a digital print of textiles. This is not a collection that copies textiles, rather that textiles suggests a way to draw; provides a set of rules to begin playing with. The title ‘construct’ is a reference to constructed textiles such as weave, knit and lace but also refers to the putting together of a new way of thinking about pattern for surface, building a collection that has been designed to cross material specifications and provide bespoke solutions.

Having been working on my Plot to Plate collection and related prints for the last five years it was a big challenge to start from scratch and move away from the safety of a kitchen garden, but I was also excited about the challenge. I’d been working on some other pattern commissions and revisited drawing processes that had got me thinking. I didn’t rush to get somewhere; I designated studio days to play with thread, ink and paper. I created a sketchbook of so many ideas and directions but eventually I began to formalise ideas and work out which direction felt right for the collection. Some of the other directions have already been moved on to commercial projects, and the others I’ll revisit over the years as and when.

construct_blog_p1

I usually sample patterns in black and white so I’m not swayed by colour rather than the success of the pattern. Having said that I was really adamant that blue was going to feature. Right from the beginning I was thinking of the strong Mediterranean blue of Greek churches, and the Blue Nude series by Matisse. Strong colour has been making a presence in interiors for a while, influenced by key exhibitions and trends. I knew I wanted to stay well away from Memphis colour palette and the reworking of 1980s colours. Sonia Delaunay has also inspired many designers and retailers thanks to the striking show at Tate Modern. I’m aware of trends, I have to be as an academic who teaches textile design, but I’ve never been inspired to follow them. I have my own creative path I’m on and I also would like my patterns to exist well beyond a season or two. Having said that one has to be aware of what drives buyers in retail to spend their money and for some it is likely to be informed by trends.

As those of you who have read more than this post might know, I like cutlery, and I can’t help laugh that the drawing tool that I’ve come to love is a sort of handmade fork! I’ve made many for this collection and they are so simple and inexpensive but all made by me to create exactly the right sized marks and the right sort of line. I’ve definitely got better at them. Weeks of testing many design structures and resulting rhythms left me with pages of patterns and the need to edit. Further weeks and I decided to test some screen printing on to fabric. Although I knew this collection was going to explore alternative surfaces I wanted it to work on fabric too. The weave of some of the fabrics was too dominant, and the scale of some of the patterns was less successful. Really valuable sampling!

construct_drawinggrid_101_blog

KF Construct_blog_p2

I’d contacted and discussed collaborations with choice companies relating to my ambitions for the collection and it was very exciting to sample on a range of substrates. I really wanted to embrace the ‘bespoke’ capacity that several manufacturers in Britain offer as a way to provide interior designers and architects for example, a choice for their clients. Choosing from off-the-shelf surfaces is not always exciting – there are exceptions! I wanted this to be a collection of pattern in anticipation of the product. Ten years ago I was a winner in the Formica ‘design a laminate’ competition and it felt good to be in discussions with a company with such a strong heritage for pattern. Surface View also demonstrate a contemporary approach to wallcoverings and surface pattern, enabling me to discuss my intentions for the collection and the concept of bespoke production and it being met by expertise and clarity. Having carried out several public art commissions over the years I’ve become used to discussing colour systems and file types, tweaking of production elements to manage the different industry requirements. It’s good to have that experience behind me.

KFarley_construct_colour2_150PrintPrint

So here I am as Tent London is underway and I am extremely proud of the patterns that have made it to the final collection. There are repeat designs, small and larger scaled rhythms and placement patterns featured across the collection including a particular Tent London tote bag competition…. There are hand printed cushions ready for shop shelves or customers’ sofas and contemporary bespoke pattern for those wanting a graphic pattern rather than printed granite in their lives. The patterns can be licensed and collaborations can be discussed. Alongside all of this in order to fully convey the concept of the collection I’ve learned the skill of latch-hook rug making and committed many hours to mastering the skill of constructing pattern in yarn – not natural for me as a printer! I’ve sampled laser cutting and etching to varying degrees of success, I’ve made a dress for the show featuring ‘flow’ AND I’ve screen printed two limited editions of prints for launch day.

I’m interested to find out how it is received after so many solo months of nurturing, worrying and wondering. It’s time to let the pattern do the communicating…. do let me know what you think!

KateFarley_construct_cushions

pride in the pattern of Pride cutlery

/ katefarley / 2 Comments

Two years ago I produced a bespoke pattern design for David Mellor Design celebrating the ‘Chelsea‘ salad servers that Creative Director Corin Mellor, (David’s son) had designed. The pattern was screen printed on to tea towels, being a highly appropriate product for the cutlery, and they continue to sell very well through the David Mellor shops and their online store. I took inspiration from the Hathersage factory and the production methods used for the making of the cutlery pieces. I like the fact that Corin sees and appreciates the relevance of the design to his company. Although I can create pattern for pattern’s sake, I am really interested in pattern that belongs to particular brands, to communicate a belonging, of distinctiveness.

This summer I was delighted to be contacted again by Corin as the buying team were keen to add a new pattern. Starting any new commission is exciting as the conversations about the intentions of the artwork, the concepts that need building on, the production methods, colour and material choices, expectations and of course… deadlines!

With all of that taken care of I received a beautiful box of cutlery to draw from. Corin had decided he wanted to celebrate his father’s first cutlery, Pride, designed in 1953. It is so elegant, beautiful to hold, and a joy to draw from let alone to eat from! I worked the same way I had done before, developing sketches and informal compositions, working up motifs and rhythms in a sketchbook first before generating final drawings and paper cut outs to scan to digital artwork.

KF_drawingMELLOR_100dpi

I work across a number of software packages depending on what is required, and always bearing in mind the final artwork requirements for production. It matters right from the beginning whether the production method is traditional printing or digital as I will design accordingly, limiting numbers of colours in the design if required, and using colour in the most appropriate way. This summer with several design projects on the go I’ve worked with Pantone references, RAL, NCS, pigment ink swatches and CMYK values. For this project we used British Standard colour relating it to other products that are stocked by David Mellor Design but I had to convert it to modern day language!

Having completed a few different designs I sent them through to Corin and his buying team and was of course really pleased when they got back to me with the same choice as me. I’ve learned never to send anything I’m not quite happy with or proud of, as that will be the one the buyer picks! Sampling and production were the next steps as well as designing the new swing tag to suit both the “Chelsea’ and the Pride tea towels. I screen print these in my studio on to beautiful G.F. Smith paper.

I’ve worked with the same fabulous British company to screen print textile products several times before and it’s always a delight to take a further project to production with them. They understand that it’s not that I’m fussy, but rather ‘particular’ about details, and we work together well. Signing off proofs, forwarding woven designer logo tags to be sewn in and waiting for the order delivery sees the weeks go past, and very soon there will be two patterns of cutlery.

KFarley_mellorPride_tt_roll_150dpi

I’m a cutlery fan any day of the week, and this really has been a fabulous commission to work on. To create a pattern for a client where the design relates to the product it is destined for, and its job is to visually communicate the heritage, culture and ethos of the company is a very fine challenge to take on. Proud of Pride!

Keep an eye out for ‘Pride’ in the David Mellor shops next month…