It’s been a while since posting here, but I’ve been busy enjoying summer adventures and developing exciting pattern research alongside getting the academic year underway. I’ve also moved in to a new studio space so I’ll share that in due course.
My pattern research focusing on the repeat print block and how it can be used to generate multiple variations to evolve pattern options continues, with sampling with screen and lino printing. I thought I’d share the more structural outcomes here, linking back to my book art practice. I enjoy discovering links that connect the broader practice I’ve developed over the last twenty five years.
As I folded the sheets of printed pattern the forms appeared to suggest a built environment so I explored the idea a little in how I photographed the pieces. Testing scale and contexts is a vital part in developing a pattern, and I enjoy the possibilities.
It’s been a while since I last wrote here – the summer term at university has been very busy, … I’ve hosted an Industry Awards Day, assessed a lot of work, put up a degree show and taken students to the graduate showcase of New Designers in London, to name a few activities, so not much headspace I’m afraid.
In the middle of all that I agreed to chair a panel at New Designers titled Contemporary Printed Textiles and Surface Design Practice. I had the amazing designers Emma J Shipley, Sarah Campbell and Deborah Bowness as panellists, sharing their expertise – all three designers are interviewees in my REPEAT book. I had some questions up my sleeves to shape the discussions, and despite not having done this sort of thing before I thoroughly enjoyed leading it. To a pretty much packed venue we discussed our individual design processes, clients and customers, how we work through licensing deals, and the decisions behind establishing brand identities. Sarah, Emma and Deborah have decades of experience between them so it was so valuable to share their generous and hard-earned experiences with the attentive audience. We could have carried on for much longer! There was also the highlight of meeting my publisher from Bloomsbury, Georgia, who I’d not met in real life before then, but came along to support me.
I also had another idea in my mind, to ask Sarah, Emma and Deborah to sign my REPEAT book to make it a special keepsake. As New Designers is a textile design industry event I also managed to cross paths with several other contributors and asked them to sign it too, including Mark and Keith of Mini Moderns, Clarissa Hulse, Daniel Heath, Jules of @thepatternsocial fame, as well as past students Tasha, now designer at Habitat and Molly, currently floral print designer at Bay and Brown. It has become a mission to find opportunities to cross paths with the many others included, but this could be a very long task!
The day ended in celebration for my colleague Jill, who retired this month after 38+ years at Norwich University of the Arts. Jill taught me when I was 18 years old, and we’ve worked together over the last five years in Norwich. She came along with Grainne, also one of my tutors, to support our graduates on the stand at the show, so I grabbed a picture with them both and the book. They earned a mention in the acknowledgments as they were hugely supportive of me as a student, introducing me to their love of drawing, colour and pattern that has stood me in the many years since.
It was a really successful few days in London with our graduates doing themselves and us proud, as they jumped with both feet in to this great industry experience, just weeks before I proudly read their names out as they crossed the graduation stage at Norwich City football ground. Now it’s time for some holiday!
I’ve been keen to get back to designing and printing having spent my practice time writing and developing the book for publication over the last few years. I’ve been testing ideas of pattern evolution and pattern construction for some time in a limited way, specifically looking at pattern structure evolution through drawing investigations, but the ideas at the heart of this investigation have themselves evolved over the last couple of years.
With more time and fresh energy I’ve defined a new project brief and research rationale, and I’m excited to have got off to a good start. I’m looking at repeat tiles and construction of pattern formations, so cut shapes and sketches were an obvious way in for idea development. I’m trying not to be too precious with outcomes at this stage, so I’m trusting the process.
I’ve started by testing ideas with geometric shapes as subject matter to keep the aesthetic clean and graphic, focusing on the laying down of colour blocks. I’ve started by working up some ideas for screen printing but anticipate many more drawings, maybe lino prints and certainly digital work will be created over time too. The colour palette will certainly change, but with an exhibition I’m making work for at the same time dictating pieces to be black and one other colour I’ve gone with black and green.
I don’t want to give too much away at this stage, but look forward to discovering the potential over the next few months.
I led a study trip to London with some undergraduate students recently, where I spent several hours in the Victoria and Albert Museum. Having not been there for a while it was fabulous to be back in the company of old friends such as the Arts and Crafts textiles of William Morris and his contemporaries, as well as seeing exhibits new to me. I love the building too and took particular enjoyment in the flooring this time around!
I refer to Arts and Crafts patterns regularly in my teaching and was able to include some fine examples in chapter 1 of the book I’ve written, REPEAT Printed Pattern for Interiors, published by Bloomsbury earlier this year. They tend to show generosity of design, interesting rhythms and motifs working hard with stylised forms that still stand the test of time. Seeing these artefacts in the flesh really made me appreciate how important it is to get off the screen and go to see real things. The scale of the design, the surface and materiality just can’t be appreciated in the same way online. I’d also not seen Portrait of Melissa Thompson, from the series ‘The Yellow Wallpaper’ by Kehinde Wiley. It was stunning and really impactful where it was displayed.
I was there to specifically see the Africa Fashion exhibition which I thoroughly enjoyed. I’ve long known of woven Kente cloth and the Asafo appliquéd flags, but it was wonderful to read and see more of the textiles for fashion, both traditional and new across the exhibition. The textile processes were broad, with fabric manipulation, weaving, printing and embellishments in abundance.
The remaining time I had at the V&A was spent enjoying the international galleries (did I mention the cake break?) where I traveled around the globe by fabric, vessels, garments and objects, enjoying making my own connections between motifs shared by people from centuries and continents apart. To juxtapose a furnishing fabric from 1878 with velvet from Turkey made in 1550, and a tapestry fragment from 400 was rather an enjoyable and fascinating afternoon’s work. I shall try to get back there with less of a lengthy gap next time!
The museum was described by the first Director, Sir Henry Cole as a “a refuge for destitute collections”. I think that’s maybe a little harsh.
Here we are, the book project is complete with publication in the UK and US today. It’s been a journey!
With the first thoughts of writing a book about pattern back in late 2015, the development of some draft scopes, the contract signed with Bloomsbury in early 2019, a first draft of Chapter 1 delivered in late 2019, a global pandemic from 2020, unscheduled health issues requiring hospitalisation & surgery in 20/21, final manuscript submitted in June 2021, and proofreading / layout until June 2022 I have had to be very focused and patient – and all this while leading two degree courses until this Autumn (I now only lead one!).
Writing a design book had never previously been a consideration of mine, but since I’d been reviewing books a few years ago it got me thinking that this was the perfect place to bring together my design practice experience with my academic role. The idea grew on me. I’ve spent years teaching pattern design and as a result tried and tested hundreds of ways to deliver inspiring and informative design workshops. I spend lots of time analysing pattern to support my lectures, and in my spare time … and so in hindsight maybe it was a natural next step.
The introduction includes me taking the reader through my journey of designing Hanbury, my wallpaper, as well as my relationship with pattern. The three chapters are very different in nature which helped to focus the research and writing at each stage, and provides the reader with a broad look at the subject of pattern design in relation to history – Chapter 1, how to create pattern – Chapter 2, and how others do, through nine feature interviews in Chapter 3. I have to comment on the cover … I love the cover, so a huge shout out to Paul and Ali of Timorous Beasties and to my publisher Georgia at Bloomsbury who allowed me to have it just as I wanted. In fact I owe so much of this project to Georgia’s belief in me to get this done, and her unwavering support throughout. Who’d be a publisher?
Many years ago a previous boss asked me to take on delivering the design history lectures to first year undergraduates and with panic and fear I embarked on what I can now describe as one of the most overwhelmingly frightening but important career defining undertakings. I was given an opportunity to challenge myself while presenting to a lecture theatre of students on a Friday morning in Birmingham, and the result was empowerment. Without high school History qualifications behind me but a passion and base knowledge of design history I decided to engage students in how history is relevant to us now, what we can learn from, challenge and move on from. I needed it to be immediately relevant to their design projects to help them understand history is important to designers today. It took some years before I felt on top of it, but many years on I comprehend the legacy of those hours of learning in order to teach, and how that substantial investment of time led to the knowledge and experience to write Chapter 1 of this book. I could have written many thousands of words more to cover the history of pattern across the globe, but word limits provided boundaries, and without a deadline I may still be writing!
I enjoy learning. I am hugely grateful to all the students I have had the pleasure to work with over the years, for sharing their creative journeys as we discuss drawing, rhythms, compositions and colour proportions to make the most interesting repeating outcomes. I’ve learned so much along the way, and that’s what keeps me interested and passionate about the discipline of pattern design. Every studio session is an exchanging of ideas, with no single correct answer, but plenty of opportunities – a privilege to be a part of, and the inspiration behind Chapter 2. It explores the practice of repeat pattern making, presenting considerations to build stronger outcomes without stipulating one right answer. I encourage designers to embrace the process of testing variations in pattern construction so the final result has learned from all that has gone before. The designers I include to illustrate the text offer so many styles and approaches and have been so generous in sharing their working practice with me and future readers.
Just as I did with my degree dissertation back in 1996/97 there were times that required drastic measures to get things right in the writing of the book – many sheets of paper were laid out across the floor and I took scissors to the pages, literally cutting and pasting paragraphs in the process of reordering the narrative. Other times I had to diligently input data on a spreadsheet, chase consent forms or simply focus on writing.
Obtaining image permissions was probably the most arduous and stressful process of the project. Keeping to budget while securing the images from archives, individuals, estates and designers I really wished for was difficult, and sometimes I had to admit defeat and find alternatives. My editor and publisher (Faith & Georgia) were both brilliant at talking this over and I’ve been so pleased to include some absolute favourites such as Lucienne Day’s Spectators and Calyx and Josef Frank’s Mirakel – I danced when these came through! It’s also been a pleasure to include a number of works by students I have taught, some in the last five years, but also Emma J Shipley back in 2005/6 – I still remember her tour bus interior for Madonna in BA1 (one of the interviewees in Chapter 3). How time flies!
I’m grateful to all the designers / archivists who have contributed images and details of the patterns throughout the book. Quick check-ins to confirm the number of screens used, or what digital software the designer prefers was all part and parcel of getting details as correct as possible. One memorable highlight on a day of writing was a phone call from the brilliant pattern designer Marthe Armitage to talk through her contributing images for the book. I was so surprised I was rather lost for words initially, but soon we were chatting all things pattern, and I’m delighted to feature her printed wallpaper patterns in the book, as they regularly feature in my teaching presentations. A shout out goes to Sophie at Warner Textile Archive who went above and beyond tolerating last minute requests for photography to get just what I wanted! Much of my clear headed thinking happened late at night as I juggled leading two courses in the day job, and I’m grateful for all who made sense of my communications at this time.
Who knew it took so long and so many people to get a book to be a physical artefact? The proof reader was brilliant as we fired queries and answers to and fro for a frantic few weeks, and then she was gone. Then the layout was taking shape – and I think I must have been a nightmare – sorry Deborah! – I wanted every page to look its best and sent diagrams and descriptions to make that happen. Finally, following last minute queries while I was at New Designers showcase in London with my graduates in late June I had to step away and the book went off for print production.
I’ve been asked several times if there will be a second book, even before I held this one in my hands…! I’m not sure, maybe one day, but today I’m celebrating this one.
I’m grateful to all who have helped make this happen, from my tutors back at art school, to friends and colleagues who have tolerated and supported me in this project. Thanks to the brilliant team and associated individuals from team Bloomsbury and to everyone who buys a copy to share the joy of printed pattern – thank you!
I’d like to dedicate the book to my parents in deepest gratitude for providing an upbringing where experiencing art, design & culture was a given. Thanks to my mum who has survived the ups and downs of raising a creative child, I know it wasn’t always easy. My sorrow remains that I never had the chance to have an adult to adult conversation with my dad about the things we would have no doubt had as common passions, but who inadvertently taught us Farley girls that if you put your mind to something there is no reason why it won’t work out. A lasting legacy & mindset.
On the 12th January 2023 my book for Bloomsbury on the subject of repeat printed pattern for interiors will be published, … finally there’s not long to wait having worked on it for years!
If you want to order a copy at a pre-publication discount you can do that here.
The process of writing a book has been a long one for me, but we are a step closer to publication … January 2023. I can’t quite believe I am an author of a book!
I’ve recently received the pre-publication inspection copies and I’m so excited to be able to share the first glimpse. I’ve been really touched by the initial responses from the contributors who have been receiving their copies, who without them, this project wouldn’t have got off the ground.
I’m waiting patiently till the new year, but here it is, the beautiful cover, featuring the pattern Bloomsbury Garden by Timorous Beasties. The book is designed to inspire and inform people about the complexities of designing pattern for interiors, and is an ideal core text for undergraduate studies. I’m delighted to be featuring the work of students I had the pleasure to teach, as well as more well known names including Angie Lewin, Sarah Campbell, Timorous Beasties, Oral Kiely and Neisha Crosland.
My ongoing research practice of drawing and design regularly explores pattern structures within the family of geometrics. I enjoy testing motifs and rhythms that belong to traditional compositions, and deconstruct the scaffolding to look for new iterations.
In this recent work I am looking to the concept of themes and variations in music to drive the visual investigation. Repeat doesn’t feature, but it’s certainly a consideration for the future.
layers of tracing paper with graphite drawing
With a short break between academic years, and the book in production I hope to find some time to take this project forward over the coming few weeks.
I’m delighted to share the news that after nearly five years in development, we are at the stage of announcing the book I’ve been writing on repeat printed pattern for interiors, with Bloomsbury Publishing is now available for pre-publication order.
The book is a culmination of my design and teaching practice experience over the last two decades and features some historic and contemporary designs and interviews with some leaders in the field including Sarah Campbell, Neisha Crosland, Deborah Bowness and Orla Kiely. It is for anyone who is interested in printed pattern design, including design students. You can read more here.
I’m delighted to be able to feature this beautiful pattern by Timorous Beasties on the cover too.
A year ago I was recovering from stomach surgery and had some time away from my academic role while I mended. Not one to be idle, when I was well enough to wield a lino cutting tool and had the energy to sit up I set myself some simple design challenges to focus my brain and help myself get better. This became my physiotherapy and creative distraction from what was a really hard period of time.
With pattern design as my go-to healer, I decided to explore formal pattern structures, including the ogee, diaper and check, featuring geometric elements. I created lino cut tiles with a small element of repeat pattern, usually but not always in two colours. The lino blocks were small, enabling me to feel as if I was making progress while able to retain focus in short bursts. The printing was another process that tested my physical strength and stamina!
I thought I’d share this one, the ogee structure – one of my favourite pattern structures – I love the play of the negative and positive S-curved forms. I think it is under-represented in contemporary design…
printing the first colouradding the second colour, blue
I often test prints in different colour combinations, as I have done here, below.
alternative colourway
It is a natural desire for a pattern designer to want to test the repeat so you can see a digital outcome below too. I decided to test the two colours as two tones of green for some reason. It has a vague hint of avocado bathrooms of the 1970s now!
digital repeat of the lino printed tile
Unknown to me at that time, I had a further hospital stay and recovery a few months on, and so the collection of patterns grew once more, as my healing and self-prescribed occupational therapy – a career I had once considered!
I’ve had little time to revisit this collection since my recovery but I hope one day soon I will. I’m not sure where this design and its siblings will venture next … any suggestions?
Kate Farley - drawn to design 