Peter Lanyon - Soaring Flight

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.

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!

Sfera preview

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. 

I was particularly drawn to the two collections which mixed ceramic and basketry collections - like the vessel above.

The affinity with materials and processes is so strong throughout the collection, and the attention to detail carries through to every last stem. Delicious.

In the Press

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. 

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.

And we are also delighted to be included in the forthcoming issue of Midcentury Magazine - 'the UK publication for all things Mdcentury Modern, championing the best of mid-20th Century interiors, furniture, architecture and design.' 

Swing Tags

Very excited about our new swing tags. Once again Victory Press, who do all of our printed graphics, have come up trumps. 

There is something so satisfying about them all stacked up in the box with the strings all tied up beautifully. 

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.

Slate Headstones of Cornwall

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. 

The churchyard is full of the most beautiful slate headstones. The patterns are very free flowing and delicate - like these beautiful oak leaves above.

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.

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.

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.

Pick & Pick + End & End

Earlier this summer, as part of the new additions to our Aerial upholstery collection we launched four new pick & pick '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.

The pick & pick technique is used with a plain weave structure and is created by alternating two weft colours or picks. (When a similar technique is used in the warp, alternating warp threads or ends the technique is called end & end.)

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.

We also often use pick & pick and end & end 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 end & end dots. In the overall design these shaded areas contrast crisply with the areas of more solid colour.

In the 2/8ths blankets we have used end & end 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.

Barbara Hepworth - Drawings

We 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.

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. 

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. 

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:
http://www.theguardian.com/artanddesign/2012/oct/24/barbara-hepworth-hospital-drawings