tag:blogger.com,1999:blog-2426613487889085392024-03-14T01:24:38.294-07:00E l e a n o r P r i t c h a r dEleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.comBlogger132125tag:blogger.com,1999:blog-242661348788908539.post-65525857248435741762016-08-16T08:19:00.001-07:002016-08-16T09:50:59.041-07:00Coombe Beauchamp Apples<div class="separator" style="clear: both; text-align: left;">
The other weekend we had tea in the orchard of our friends the Macdonalds. It is a magical corner of Herefordshire where Angus grows old varieties of local apples which are pressed into apple juice each autumn. </div>
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<span style="text-align: left;">His enthusiasm and attention to detail carries through from the choice and care of the apple trees, and the surrounding wild flower hay meadow; to the labels on the green glass bottles.</span></div>
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The Coombe Beauchamp labels are printed by Tilley's - a traditional letterpress printers based in nearby Ledbury since 1875. The large golden letters spelling out Apple are printed with wooden type and the rest of the text is over-printed with old metal type. All the labels are glued by hand onto the bottles and boxes - no self adhesive short-cuts here.</div>
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The new season's fruit were just ripening when we visited, and underneath and around the trees is a wonderful wild flower hay meadow full of yellow rattle and vetches. </div>
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For more details on the juice please contact Angus Macdonald - angusmacdonald@talktalk.net<br />
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You can see more about Tilley's on their website <a href="http://www.tilleyprinting.co.uk/">here</a>Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-12148600816145800282016-08-10T05:31:00.000-07:002016-08-10T05:31:27.576-07:00Neri & Hu for De La Espada<div class="separator" style="clear: both; text-align: left;">
We were delighted to have our Sourdough blanket used in this shoot by De La Espada. The furniture is by Neri & Hu for De La Espada. It was shot in Portugal with styling by Simon Kampfer and photography by Yuki Sugiura. </div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-87561856475597655322016-08-04T07:33:00.000-07:002016-08-04T09:47:05.319-07:00Isokon PlusI had a wonderful morning this week at the Isokon Plus workshop.<br />
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I really love working spaces - with all their particular sounds and smells.<br />
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These above are the Bodleian library chairs in the making. They were commissioned for the famous library in Oxford with the design by Barber Osgerby and the production by Isokon Plus. The chair is beautiful and distinctive - perfect for the Bodleian.</div>
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I find myself very drawn to the aesthetic of industrial machinery - the particular hammerite green above feels very familiar and I love it against the bright yellow and red.<br />
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These below are sanding belts hanging up on long wall pegs.<br />
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You can see here the iconic Isokon plus Penguin donkey. I think these must be the original birch ply ones designed by Egon Riss in 1939. </div>
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I love the sinuous feel of the Bodleian chairs all stacked up - they feel like the spine and rib cage of a whale.<br />
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Isokon Plus are a wonderful company with a fascinating history and we are really looking forward to working with them. You can see more about Isokon Plus on their website<a href="http://www.isokonplus.com/"> here</a><a href="http://here./">.</a>Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-24549034350564517352016-07-21T11:22:00.000-07:002016-07-21T11:24:12.092-07:00Le Corbusier - Unite d'habitation<div class="separator" style="clear: both; text-align: center;">
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Last month we had a wonderful weekend away in Marseilles. It is a great city, and undoubtedly for me one of the highlights was Le Corbusier's Unite d'habitation. </div>
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The project was built between 1947 and 1952, and I was really struck by how well it has stood the tests of time and the scrutiny of its ideals - the democracy of design, the honesty of materials and the beauty of functionalism.<br />
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I love all the concrete forms, with the original wooden shuttering clearly visible.</div>
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But I was also really surprised by all the decorative detail - in the image above you can see a pattern of coloured tiles on the roof terrace. </div>
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And the strong, thoughtful use of colour throughout the building works wonderfully against the greys of the concrete</div>
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Maybe this was partly due to the influence of his collaborator the painter-architect Nadir Afonso. But whatever the reason, it works wonderfully to soften the edges of this beautiful brutalist icon.</div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-58614727779281488762016-05-19T04:09:00.000-07:002016-05-20T01:38:49.259-07:00Iris Hantverk<div class="separator" style="clear: both; text-align: left;">
You may already know or even own one of more of Iris Hantverk's beautiful brushes - they are sold in discerning design and homeware stores throughout the world. </div>
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The company was first set up in the late nineteenth century to provide employment for visually impaired craftsmen. To this day Iris Hantverk continues to work with highly skilled visually impaired craftsmen in Sweden and Estonia. </div>
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The traditional techniques of hand-drawing and binding are still used today resulting in brushes that feel both beautiful and functional.</div>
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The brushes are made from a amazing array of materials including agave leaf fibre, sago palm leaf fibre and goat hair. There is lots of great information on Iris Hantverk's website about all the materials and their specific properties</div>
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<span style="text-align: start;">We are very pleased that Iris Hantverk stock our blankets in their Stockholm flagship store - to us they feel like real kindred spirits. </span></div>
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<span style="text-align: start;">For more information about Iris Hantverk and their beautiful brushes have a look at their <a href="http://www.irishantverk.se/">website</a>.</span></div>
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<span style="text-align: start;">The wonderful photos above are all by Anna Kern</span></div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-34716084242594896182016-05-10T06:58:00.000-07:002016-05-10T10:31:27.367-07:00Assyrian Lion Hunt<div class="separator" style="clear: both; text-align: left;">
We were in the British Museum the other day when I came across these extraordinary low-relief carvings from Nineveh.</div>
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Although I am familiar with the big gates from Nimrod in the museum these 'lion hunt' stone panels were a real revelation.</div>
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The carvings date from 645 - 635BC and lined a chamber in the North Palace at Nineveh.<br />
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The palace was built for King Ashurbanipal. Although a keen sportsman, rather than hunting lions in the wild, Ashurbanipal had them rounded up and brought to an arena where he could shoot them down one by one. The staged hunt must have been a real spectacle and testament to his power and authority.<br />
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What I find really extraordinary about the carvings is that while the people in the images remain very stylized - always shown in profile and with no expression on their faces, the dying lions are depicted with an intense realism and - to my eye at least - an empathy for their suffering. You can clearly see the pain in their snarled and furrowed muzzles. </div>
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Perhaps there were strict rules and conventions about how humans could be depicted, whilst the sculptors were left to interpret the animals in a much freer way.</div>
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Whatever the truth, if you have a spare fifteen minutes in the British museum they are well worth a visit.</div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-22522044607035271862016-03-11T02:29:00.000-08:002016-03-11T02:29:46.452-08:00End and End<div class="separator" style="clear: both; text-align: center;">
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Almost all of our fabrics are double-cloths. This means that the fabric is made up of two distinctly separate but interlocking layres. I love using this technique because it allows for very sharp graphic patterns.</div>
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The warps we use for double-cloth are called 'end and end' - the literally means one yarn of one colour and the next of another. We use end and end warps for all our patterned upholstery fabrics. You can see in the image above the warps for our Bilsdale, Heathfield and Mendip fabrics - made up of alternating threads of white and grey. This warp has finished weaving and you can see underneath the warp for the Totley and Belmont which is 'end and end' orange and white.</div>
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Our upholstery fabrics are all made on the same threading set-up which means that one warp can follow on from the next on the loom. New warps are knotted onto the end of the old one - as you can see above at the start of the warp for the Ashkirk and Chillerton.</div>
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The blue and white warp above is the end and end warp for our Wrekin, Rowridge, Caradon and Wharncliffe fabrics. Of course the warp is only half the story as far as colour and pattern - once you add in different weft yarn colours and different lifting patterns the possibilities are infinite.</div>
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The weaver in the image above is preparing the orange and white warp for tying on - you can see the distinct groups of yarns created through sectional warping. </div>
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And the image below is of the very clever magical machine that ties each thread from the end of one warp onto the beginning of the next.</div>
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I really like the way that this stage - before any weft goes is woven in - the warps are so linear. I guess literally the threads are only going in one direction. The effects on the loom as as one set of threads emerge through the other is like that of Ikat. Beautiful<br />
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Thanks to Catherine at Bute for the wonderful photos.<br />
<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-57536271405260489402016-03-08T06:58:00.000-08:002016-03-08T06:58:28.817-08:00Cave Interiors<div class="separator" style="clear: both; text-align: left;">
Happy to spot our cushions in this smart Marylebone apartment recently refurbished by Cave Interiors. You can see more details on the project on Cave's website <a href="http://caveinteriors.com/projects/marylebone---mansion-block-apartment-on-site/">here</a>.</div>
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Images: Luca PiffarettiEleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-87768331857102153472016-03-04T10:58:00.001-08:002016-03-04T10:58:45.050-08:00Ercol<div class="separator" style="clear: both; text-align: left;">
Nice to see our Peppercorn and 405 Line blankets on this Ercol shoot</div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-45887210553381718312016-02-19T08:32:00.000-08:002016-02-19T08:33:36.183-08:00Beautiful colours of Stockholm<div class="separator" style="clear: both; text-align: center;">
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-57557447985748682642016-01-19T07:14:00.000-08:002016-01-19T07:14:26.091-08:00Pumpernickel and Sourdough<div class="separator" style="clear: both; text-align: center;">
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This year we are launching two new designs woven with undyed British wool. Called Pumpernickel and Sourdough, we think they make a handsome wholesome pair.<br />
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The blankets are woven for us in Lancashire, and the yarn for both designs is made up from a blend of fleeces from three breeds - Suffolk Lowland, Welsh Mountain and Jacobs sheep.<br />
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These above are Welsh mountain sheep in the snow in their thick winter coats. It is the Welsh Mountain fleeces which give the darkest colours in the range - seen below in the mix for our new Pumpernickel design. We've paired it with a white on the reverse and a scarlet stitched edge.</div>
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The palest colours in the range are from the Suffolk lowland sheep with their white fleeces and black faces and legs. The painting here is of the prize-winning Suffolk Lowland sheep of the Marquis of Bristol.</div>
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On the right below is our new Sourdough design. As with the Pumpernickel we have paired it with a white reverse and this time we have added a stitched boarder in a tumeric yellow on the blanket. For the cushions we have used our Straw Yellow ground fabric as the backing for the Sourdough and the Petrol Green ground on the Pumpernickel.</div>
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<span style="font-size: xx-small;">second: Wild wool farm</span><br />
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-5949306620859191312015-12-22T07:06:00.001-08:002015-12-22T07:06:36.504-08:00Candy Canes and Christmas Lights<div class="separator" style="clear: both; text-align: center;">
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-71764846556663066542015-12-16T01:16:00.001-08:002015-12-16T01:19:06.001-08:00Elliott Ceramics<div class="separator" style="clear: both; text-align: center;">
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Our friend Elliott has just recently launched his first ceramics range. The work is beautiful. Wonderful spare considered shapes in delicious ice cream colours. </div>
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The pieces feel lovely to use - they sit well in your hand, and the little fleks of colour and texture add a touch of grit to keep them just the right side of sugary.</div>
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These are colour samples for the porcelain - stacked up here they look like delicious marzipan in hazlenut, raspberry, mint and oatmeal. You can see more of Elliott's work <a href="http://www.elliottceramics.com/home-2/">here</a>.Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-48402477890610863902015-12-10T06:31:00.001-08:002015-12-10T06:31:56.203-08:00Peter Lanyon - Soaring Flight<div class="separator" style="clear: both; text-align: center;">
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I went recently to the Peter Layon show at the Courtauld. The exhibition called 'Soaring Flight' focuses on Layon's later gliding paintings. The painting above is a aerial view of the coast. This one seems quite explicit - many of the other paintings are quite abstracted, with suggestions of the route of the glider's journey as well as references to the elements in the air - thermals, and clouds.</div>
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I particularly like the painting above called 'Drift'. It captures the moment that the glider is released from the powered plane towing it - the central black streak is thought to be the towing line falling away from the glider. I really like the feeling of calm and the mix of colours - soft chalky whites and greys with just a flash of mustard and cobalt blue. Beautiful!Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-10705475119400257692015-11-24T05:05:00.000-08:002015-11-24T05:05:38.318-08:00Sfera preview<div class="separator" style="clear: both; text-align: center;">
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Went last week to the Sfera preview in Clerkenwell. As always with Sfera's work, every piece was exquisite and it was a lovely chance to see the full range of materials including porcelain and stoneware; copper and aluminium; wood, bamboo and glass. </div>
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I was particularly drawn to the two collections which mixed ceramic and basketry collections - like the vessel above.</div>
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The affinity with materials and processes is so strong throughout the collection, and the attention to detail carries through to every last stem. Delicious.</div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-82791305763794245942015-11-18T01:16:00.000-08:002015-11-18T01:16:29.445-08:00In the Press<div class="separator" style="clear: both; text-align: center;">
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We are very pleased to have been invited by Monocle magazine to design and produce a pair of exclusive blankets for their shop. The result is a clean pared-back design of white bars floating in a pick and pick ground on one face with a chequer patterned reverse face. </div>
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We were also very pleased to have our Quince, Quail's Egg, Easterly and Sandstone Optic blankets included in Modern Rustic's 'Objects of Desire' series.</div>
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And we are also delighted to be included in the forthcoming issue of Midcentury Magazine - <i>'the UK publication for all things Mdcentury Modern, championing the best of mid-20th Century interiors, furniture, architecture and design.' </i></div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-54038230030890105212015-10-30T12:06:00.000-07:002015-10-30T12:06:26.573-07:00Swing Tags<div class="separator" style="clear: both; text-align: center;">
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Very excited about our new swing tags. Once again Victory Press, who do all of our printed graphics, have come up trumps. </div>
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There is something so satisfying about them all stacked up in the box with the strings all tied up beautifully. </div>
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The lettering is done with foiling, and the pattern is blind de-bossed into the card. It feels almost as though the pattern is bitten into the card. The technique gives a wonderful texture - so much more interesting than flat litho or digital printing.</div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-38636118804272385682015-09-23T11:40:00.000-07:002015-09-23T11:40:39.770-07:00Slate Headstones of Cornwall<div class="separator" style="clear: both; text-align: center;">
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We are just back from a couple of days down on the north Cornwall coast. It was glorious late summer weather and we did a long walk along the cliff tops. Right at the end we came across the churchyard at Padstow. </div>
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The churchyard is full of the most beautiful slate headstones. The patterns are very free flowing and delicate - like these beautiful oak leaves above.</div>
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Most of them are 18th and 19th century and many are the memorial stones for 'master mariners'. It shows how very connected people's lives were with the sea.</div>
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Many of the stones look almost like samplers for lettering styles, with the text varying from ornate gothic on one line to copperplate on the next. A glorious celebration of fonts and styles.<br />
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I remember years ago coming across the gravestone of John Betjeman in St Enodoc's church midway between Polzeath and Rock - just across the water from Padstow. It is very much in this style - a beautiful free-flowing lyrical design delicately traced in dark Cornish slate. Good to see that the tradition continues.Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-47338395903972971772015-08-30T05:36:00.000-07:002015-08-30T05:36:44.485-07:00Pick & Pick + End & End<div class="separator" style="clear: both; text-align: left;">
Earlier this summer, as part of the new additions to our Aerial upholstery collection we launched four new <i>pick & pick</i> 'grounds'. These are single-cloths which co-ordinate with the background colours and textures in our patterned double-cloth fabrics. Quieter cousins to the double-cloths, the grounds are establishing themselves as beautiful versatile fabrics in their own right and we have a number of exciting projects in the pipeline.</div>
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The <i>pick & pick</i> technique is used with a plain weave structure and is created by alternating two weft colours or <i>picks</i>. (When a similar technique is used in the warp, alternating warp threads or <i>ends</i> the technique is called <i>end & end</i>.)<br />
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We often use these techniques to create mixed colours as in the upholstery grounds above. It is a lovely way to mix colour in a quite deliberate and graphic way - you get great depth of colour whilst always still reading the individual yarns in the mix.<br />
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We also often use <i>pick & pick</i> and <i>end & end</i> techniques to achieve a very graphic form of shading. In the Ziggurat blanket above which we make for Margaret Howell, you can see the way that the white and mushroom colour are knocked back in areas with the little charcoal <i>end & end</i> dots. In the overall design these shaded areas contrast crisply with the areas of more solid colour.<br />
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In the 2/8ths blankets we have used <i>end & end</i> against solid colour to achieve the visual break between the top 'boarder' of the blanket and the main body. You can see the point at which the two effects meet on the fold of the 2/8ths Storm Blue blanket in the stack above. It is a beautiful way to change the feel of the fabric - knocking back colour, adding darker or lighter areas in a graphic way - I think of it as a sort of woven cross-hatching.<br />
<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-65269700039642811132015-08-28T07:39:00.000-07:002015-08-28T07:39:40.056-07:00Barbara Hepworth - DrawingsWe went the other day to the Barbara Hepworth show at the Tate. There were lots of beautiful familiar pieces - I particularly loved the huge guarea wood pieces with their beautiful nut-like polished exteriors and their chalky lime-washed textured interiors.<br />
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Perhaps what struck me most though were the drawings - most of which I had never seen before. I found these studies of surgeons at work really extraordinary. They were made just after the war, when Hepworth had befriended the surgeon Norman Caponer who had treated Hepworth and Nicholson's daughter. </div>
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I really love all the scratchy grainy textures in the drawings - for me they have much of the quality of the chalky textures in Hepworth's carving. </div>
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There is a great article by Jonathan Jones from 2012 about the drawings in which he draws the comparison between these and the paintings of Piero della Francesca. You can read the article on the Guardian website here:<br />
http://www.theguardian.com/artanddesign/2012/oct/24/barbara-hepworth-hospital-drawings<br />
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-41549817399719068542015-07-10T03:32:00.001-07:002015-07-10T03:35:41.043-07:00The Beautiful Shears of Hitch Mylius<div class="separator" style="clear: both; text-align: left;">
Inspired by a lovely post by Hitch Mylius on their website yesterday about the process of making a piece, I have found these images which I took on my last visit to their factory. As you can see, the shears seem to have caught my eye!</div>
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For the link to the Hitch Mylius post please copy and paste this: http://www.hitchmylius.co.uk/about/process/Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-47706832030904510952015-07-02T01:56:00.000-07:002015-07-02T01:56:57.241-07:00Sfera - kid's furniture<div class="separator" style="clear: both; text-align: left;">
We were delighted when Sfera used our Aerial fabric once more - this time on their beautiful children's furniture range. The collection is absolutely charming - as you can see below. </div>
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The furniture is a collaboration between designer Shigero Mashiro and master woodworker Naomi Tado and was launched at Milan this year.</div>
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You can read more about the collaboration on Sfera's magazine pages <a href="http://www.ricordi-sfera.com/en/magazine_post/01/">here</a>.Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-71772719100382673572015-07-01T04:04:00.003-07:002015-07-01T04:04:43.768-07:00RAF Hendon<div class="separator" style="clear: both; text-align: left;">
I was going through old images the other day and came across these from RAF Hendon. It is a wonderful museum of old aeroplanes. Some of the earliest have wooden framed wings with linen stretched over them - amazing how fragile they seem.</div>
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I really like all the markings and colours, and particularly how these crisp graphics work against the riveted metal panels. Beautiful.</div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-62312416634232085642015-06-22T05:21:00.001-07:002015-06-22T05:21:31.438-07:00Faded patchwork<div class="separator" style="clear: both; text-align: center;">
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0tag:blogger.com,1999:blog-242661348788908539.post-43827315236445330662015-06-05T10:36:00.000-07:002015-06-05T10:36:36.900-07:00Richard Diebenkorn<div class="separator" style="clear: both; text-align: center;">
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I am very pleased to have caught the Richard Diebenkorn show at the Royal Academy before it closed. I have to confess I knew nothing about him beforehand, but looking through the RA website I expected that I would love the later abstract paintings.<br />
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In fact when I got to the show I found that it was his mid-career figurative works that spoke most to me. I find the sense that the landscapes above and below are both flattened and contoured very interesting, and I love the sense of light and shadow. You can anticipate the clean abstraction of his later paintings, but it is the detail and the specificness of the landscape which make these so wonderful.</div>
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Perhaps my favourite paining of the show was this one of a knife in a glass of water. Again you can see some of the qualities of his later abstraction - the flattened planes of colour and clean lines and shapes - but it is the weighty realness of the objects that most appeals to me. </div>
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<br />Eleanor Pritchard Studiohttp://www.blogger.com/profile/08501209913513919409noreply@blogger.com0