micro florals

I’m used to gathering flowers and then drawing them over and over in order to learn more about their colours, shapes, forms and structures in order to develop imagery for prints and textile designs. At home this weekend we looked at flowers in a different way. We investigated last years plants that my daughter had pressed safely, and looked at them under the microscope that my son had become rather too keen on discovering inside the utilitarian wooden box it lives in.

We had great excitement as some rather plain plants revealed stunning patterns and textures and were disappointed when something beautiful at full-scale looked rather scary close-up. On trying to capture these images on camera the results were reminiscent of Len Lye animations and got me thinking about other ideas. Here’s a few images to share…

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Norfolk lines

I’m naturally biased when it comes to the Norfolk landscape but seeing as it has shaped my aesthetic, colour preferences and my approach to drawing I am happy to consider it to be inspirational. I don’t spend enough of my time in Norfolk these days but every time I visit I take deep breaths, and big eye-fulls of the vast expanse of open landscape, the ever-changing light qualities and the endless colours of the land, sea and sky. Here’s a medley of Norfolk from this Christmas including sights of seals at Horsey Gap, a rainbow & the beach at Wells-next-the-Sea, and fields near Cawston and Alysham.

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solid coated, and rather red!

It’s been rather a long time since I posted a Pantone colour as part of my Twitter project  – here’s a beautiful red.

Kate Farley ‏@katefarleyprint

A solid and striking @pantone 186, Coated obviously – its December! Near Chesham. A damp walk cheered up by these. pic.twitter.com/SnEFnBYvJa

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For some previous Pantone colours I’ve gathered check out my Facebook page: Kate Farley Print https://www.facebook.com/photo.php?fbid=517821538247455&set=a.517820928247516.132125.503564866339789&type=1&theater

Good feelings at the allotments

Taking care of an allotment plot is never about saving money on food – and Birmingham Council have ensured it could never be, given the huge plot rent increases. Tending a plot gives so much more than the crops that you harvest. Here’s a few good reasons:

  • Growing your own food provides the gardener with opportunities and excuses to go outside and realise that what looked like a grey, cold winter day is actually rather nice.
  • Digging provides an opportunity for head space, for time to mull things over, while also focusing on the amazing tenacity of bindweed and couch grass that really ought to be put to a constructive use rather than taking up all my time!
  • Making good use of time growing food makes you wonder why other people would want to spend each weekend wandering around indoor shopping centres, missing out on the feeling of muddy fingernails despite the gardening gloves and the sight of the first strawberry beginning to blush.
  • The satisfaction felt from a harvest that provides all the food for your family meal takes a lot of beating
  • and in addition to all this, I can thank the plot for the inspiration in my ‘Plot to Plate‘ design collection too.

Its a really good feeling when the crops are bountiful. The hard work of winter has paid off, the patience with the frosts and the protection from the birds has worked out okay and you get great stuff to eat for the commitment you give. With a fully laden bike and a handful of sweet peas to grasp on the handle bars you head home like a hunter gatherer from a previous age.

The thing is, when all goes well its an amazing feeling to be able to pass on the surplus to others who will also enjoy the success. Some years at the site we all have gluts of the same thing, other years we wonder what we did wrong when others are almost complaining about too many onions, and nothing has come of ours. It’s a great thing that there is never resentment to another successful gardener, but pleasure in their success. We share tips and ideas, timings and tools as well as the odd cast-off seedling and you’d be a fool to pass on the offer of parsnip seeds from Tony!

When a fellow plot-holder offered me her excess apples and pears today I politely declined at first, thinking that she would find something else to turn them in to, another apple tart, another crumble – really! too many apples? We have had a poor year in that regard. But there is a great sense of pleasure in offering ‘help’ in accepting the produce. We really are the winners in this hand-me down act, but it also feels as if we are doing a great favour in accepting the gift of free, home-grown food, enabling the grower to experience their own sense of generosity, good-spirit and community mindfulness, and saving them the feeling of not letting down the very fruit that served them so well this year – not bad for a bag of apples and pears – thanks!

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Design inspirations 2: the natural world

Second in the series of ‘Design Inspirations’ blog entries…

The natural world has long been an inspiration for textile designers. Many years on from William Morris celebrating the natural world of flora and fauna as decoration for textiles we have had Laura Ashley, Marimekko and Orla Kiely, to only name three companies, who have interpreted the natural world and created stylised patterns and imagery which continue to inspire design students of today.

At times the worst thing as a lecturer of design we can hear from a student is that their project will be “about shells” and we dread the worst examples of static and bland studies which do little to explore the beauty and wonder of the natural world’s creations of form, structure, surface, pattern, colour and more, before approaching the bountiful concepts and metaphors in the ‘dot to dot’ of design processing hidden around the shell!

In my drawings I often aim to distil and to simplify a plant structure or shape of a flower in order to create motifs for prints and surface patterns, exploring perspective, diagrammatic language and relationships with place / context. I have a huge archive of drawings made on locations as well as boxes and bags of samples including plants, stones & leaves and one day they may well feature in designs. You never now what you might need! Going anywhere new, even for a holiday means that I keep my eyes open and often pockets filled as a result of finding new things.

Having visited the Gower peninsula for one last summer camping trip I came across these examples of natural forms, which could and would create different visual interpretations in the hands of each creative prepared for the job. That is one reason why I like to play a part in design education; to facilitate the looking, seeing and interpreting, and it is certainly why I like to keep on collecting, and keep on drawing.

 

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The English countryside

We had a beautiful day yesterday involving a quick trip to Ledbury, and specifically Tinsmiths to sort out post-show details. Our visit to this lovely market town coincided with the poetry festival so we also picked up some verse, locally-made pork pies, beer and ice-cream!

It was so hot in the afternoon sun but we did manage to enjoy the scenery around the Malvern Hills to-ing and fro-ing between trees for shade. It’s a stunning landscape, and one that feels so English. I first encountered the area when I cycled Lands End to John O’ Groats back in 1994 and it left its impression on me even then.

The views from the ridge make you feel as if you are a giant overseeing a toy model landscape but it is with this viewpoint I can capture my key interest in the landscape. If I was to draw the view I would have started with lines that recorded the field boundaries defined hundreds of years ago, the footpaths etched in to the land by endless walkers and roads enabling others to pass through. The lines become shapes and a record of that moment of my experience, but what is also captured is hundreds of experiences, of us, living in this English landscape.

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In terms of colours, I was struck by the stark contrast of the dry grass tones compared to the striking pink of the foxgloves and the very green bracken.

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I’m also a collector of photos of grasses and such-like against blue skies, and so I happily added further imagesummer1s to that collection.

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All in all, a very lovely English day.

scale and context

During a beautiful adventure in the Lickey Hills, south of Birmingham at the weekend I took these photos that showed how similar the environment close to the ground was to the canopy of the much taller pine trees. It highlighted to me the experience of scale and how important the context is. I tend to record this sort of detail in my garden sketches too and so it struck a chord.

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Hanbury Hall delights

My creative practice has been inspired by National Trust gardens for the last few years and as a result I’ve had a number of people suggest I visit Hanbury Hall – finally I got round to it at the weekend. Despite the poor weather it was a delight to discover all the pockets of gardens, each carefully considered, and demonstrating the wide variety of formal and informal planting the National Trust excels at.

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Armed with my sketchbook and camera I gathered plenty of inspiration for new prints and will definitely be back later in the season.

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Its also a fantastic building inside and out. I dashed around the inside and a particular wallpaper caught my attention.

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All in all, I left feeling excited about making new work again having spent so long preparing for my solo show at Tinsmiths, opening later this month… now where did I put that lino?

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YELLOW April

Having noticed this week that the garden has suddenly started to change colour, I set about documenting all the yellow in the garden. Its not surprising at all that the photographs of the same flowers taken at different times of the day varied hugely, but I also recorded the range of yellows in the flowers of this very YELLOW season.

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working with nature and nature working with us

One of the things that has inspired and influenced my creative practice is how we work with the land; to farm, build roads, wear the paths where we shouldn’t walk as well as create boundaries. These are signs of man asserting influence over nature, and the natural landscape. Of course the way things were thousands of years ago will never return but modern-day farm machinery and larger field sizes are two things that have shaped our contemporary countryside.

I have never quite understood topiary but am intrigued when I see orchards with heavily structured boughs, turning a natural system in to a geometric diagram. We ask nature to do what it does not naturally want to do. We expect plants to grow in the wrong soils, because we like the look of them despite our climate, and we can be unforgiving if a ‘weed’ dares to grow where we don’t want it to.

With this in mind I do like to see subversive and anarchic challenges from nature, and nature trying to make its mark where it shouldn’t. Like graffiti on the wrong walls; art in a gallery, vandalism on the streets, plants do sometimes have their own agenda. I found this beautiful plant surviving, flourishing even, in the mortar of a very old wall in Ledbury. It made me laugh. It wasn’t the usual ivy or buddleia, but a beautiful primula, proud as punch of its achievements. Okay, so the leaves are rather small relative to the flower heads but I couldnt help feeling rather pleased for it too.

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