Ultra Violet – the colour of 2018?

Ultra Violet has been named as the “Color of the Year 2018” by Pantone.

So what does this mean? Pantone is an American company that has developed a system for defining and standardising colours. It also forecasts future colour trends, and each year predicts the colour that they think will be most important. This year, 2018, Pantone predict that we should be seeing Ultra Violet coming to the fore in fashion, interiors, product design, cosmetics, packaging, and many other areas.

Seeing the Ultra Violet colour on its own, I have to admit that it reminds me of a certain chocolate bar. But, coincidentally, on 1st January 2018 a friend gifted me a lovely dress in this colour. My newly started moleskin notebook is also this colour. So maybe, for me at least, it will be a significant colour.

To help designers, Pantone have put together a page of information about Ultra Violet – https://www.pantone.com/color-of-the-year-2018-tools-for-designers – and this includes some suggestions for different colour palettes which allow Ultra Violet to take on different identities and feelings.

Using the suggested colour palettes and a great tutorial from Veronica Galbraith on recolouring designs – found here – I decided to spend some time playing and recolouring an existing design. I used the randomly recolour option to free my mind from its preferences and preconceptions. Here is the same design recoloured in the 8 different palettes, together with Pantone’s titles for those palettes.


I found some of the palettes challenging and initially unattractive, but it was interesting to see the variations that they produced. I was especially struck by how the different warm/cool and light/dark combinations emphasised different aspects of the pattern.

I certainly have plenty of ideas now of different colours to wear with that dress. My favourite colourway is probably “Drama Queen”, which I think would be lovely as a big pashmina-type scarf or even a throw for the sofa or bed. “Floral Fantasies” surprised me the most because of its lightness and delicate touch.

Recolouring this design has given me ideas for how to re-visit and re-develop it, so that is a task for another day. In the meantime, I’d love to hear what you think of Ultra Violet and how you might use it in your home and life.

Barcelona, Gaudi and mosaics

A couple of years ago I enjoyed an Autumn break in Barcelona. Looking through my photographs recently, I thought it would be nice to share them. The main difficulty was in deciding which images to share!

My overwhelming impression of Barcelona was that if it doesn’t move, then it gets decorated with mosaics. Even the trees look to be covered in mosaics (yes, that is the tree bark on the left), and I love the building with the umbrella ‘mosaic’.

Much of the best known mosaic work in Barcelona is the work of Gaudi. It’s a difficult choice, but Casa Batlló was probably my favourite of Gaudi’s buildings. As well as being the architect of this building Gaudi was also able to design the interiors, including light fittings, door handles and even decorative (but efficient) ventilation systems. It is designed in its entirety. The main central hall has tiles of varying shades to compensate for the amount of light that reaches different levels – there is such attention to detail here. But I also particularly liked the stables and gate at Finca Güell, especially the idea of putting bright mosaic pieces into the mortar in the brickwork.

But Barcelona is more than just Gaudi’s mosaics. The Palau de la Música Catalana is stunning. Designed and built in the early 20th Century when Gaudi was also designing, it has a more structured and illustrative style while still employing the mosaic technique. One day I hope to go back and see the inside of this impressive building. There is only so much you can do on a short city break.

What I particularly like about Gaudi’s work is the joyful randomness of the mosaics. The pieces were not cut into perfect regular shapes and exactly placed into geometric patterns. There was always the feel of the work being hand-crafted rather then precision engineered. To create that feeling of almost casual randomness takes a great level of skill and confidence.

Before my visit to Barcelona I knew of Gaudi, but I didn’t understand very much about his work. Nothing prepared me for the explosion of colours, shapes, and textures that his work presented. I was also surprised to discover the diversity of his work, and the way he referred to legends and his cultural history. Casa Batlló is actually based around the story of Sant Jordi (or Saint George) who is the patron saint of Catalonia. A good explanation can be found here. And the wonderful dragon gate at Finca Güell was also inspired by literature and legend.

Visiting Barcelona gave me a much wider appreciation of Gaudi’s work. He paid great attention to detail, wanting everything to work together to tell a coherent visual story. And he worked in so many media and different design disciplines. This attention to detail is evident in the scale and structure of Sagrada Família, where you an also see his models and working drawings that he used to calculate the various architectural constraints.

Barcelona is a beautiful and inspiring city to visit. The bus tours are great to help familiarise yourself with the city before deciding where you want to focus your time. Although I visited many places, there are others that I simply didn’t have time for. So one day I will return, as I am sure there are plenty more sights waiting there to wow me.










Typography in Liverpool

A recent post by Creative Bloq got me thinking. It was about the 2017 logo design trend of ‘uppercasification’ (their word not mine). What they mean by this word is the trend for companies and brands to put their text into uppercase capitals. You can read the original post here.

I think the reason this post attracted me is because typography was already on my mind. It feels like there is currently one particular font that is everywhere. It is a flowing, elegant, script style, reminiscent of brush calligraphy. Yes, it can look lovely. However, it is not always easily read – a point that was brought home to me when I was sent somebody’s email address written in this font! And, possibly more importantly in my opinion, it has become overused – it has lost its impact. Maybe the trend for ‘uppercasification’ is a reaction against this ubiquitous and very decorative style of font that we are seeing so much of. In the words of The Beautiful South‘s song Rotterdam (or Anywhere) 

“And everyone is blonde

And everyone is beautiful

When blondes and beautiful are multiple

They become so dull and dutiful”

Recently I visited Liverpool for a long weekend. While there, I photographed a variety of typography and fonts, from the hand-drawn to machine produced. In many cases the choice of font used carried as much message as the words. And I think that this is how is should be. A beautiful font is only beautiful when used well and appropriately, and when any font becomes overused it loses its beauty and impact. I hope you enjoy some of my photos from that visit. Maybe you will be inspired to look at the typography used in your own local area.


You can’t visit Liverpool without being made aware of its musical heritage, and in particular The Beatles and the Merseybeat scene:


There are many other references to Liverpool’s history and heritage, especially its importance as a great port. However, there is also modern rebuilding and renovation:


And finally, restaurants and cafes are a vital part of any big city. And a great source for typography, especially hand lettering on menu boards:


I’m sure that any city or town would reveal a wide range of fonts and typography styles. And we should relish that variety.


Lantana Mandala

Recently I was able to take an on-line course with the very talented Sherry London. Sherry is a Photoshop expert, having used the program from its early beginnings. Coincidentally, she came to PS for designing for knitting machines – the same reason I got involved in computer design programs. I would definitely recommend Sherry’s courses, she is so generous and helpful with her knowledge. And no, I don’t have any affiliation to her. The short course I took is “Two Weeks to a No Fail Seamless Toss Repeat Pattern in Photoshop”.

As a freebie in this course, Sherry shared a template for creating mandala or kaleidoscope effect images from our artwork. I love this effect, and have experimented with it at various times over the years. It even featured in my degree show. So I had to give it a try.

Fast forward a few months and I have been experimenting this week with the ‘advanced’ template, where I can have more control over the placement of the original artwork. This is an addictive activity. I used photographs of Lantana Camara that I took in the Poison Garden at Guimar Pyramids in Tenerife, and I would like to share a few of my favourite results here.



Turkish Carpets

Last year I spent a wonderful holiday in Turkey. I did very little sightseeing, preferring to just relax by, and in, the pool. One of the places I did visit was the Temple of Apollo near Ephesus. While the Temple itself was impressive, I want to share some photos that I took at a carpet seller nearby. Most, if not all, of these carpets and rugs were probably produced for the tourist trade. I loved the strong geometric shapes on most of the designs, together with the gorgeous colours. I hope you enjoy the photos. I will also be sharing some of the colour schemes that I extracted from the rugs on my Instagram feed https://www.instagram.com/annettekirstinedesigns/.








“The Durrells”

Over the past six weeks I have been enjoying the TV program “The Durrells” on ITV.  This has been (in my opinion) perfect Sunday evening TV, gentle and beautiful to watch.

For those of you who don’t know, it is based on The Corfu Trilogy, an autobiographical book series by the naturalist Gerald Durrell. The story is of when his widowed mother suddenly decides to move her family of four children to Corfu in search of a better life for them all. They struggle with language difficulties, lack of electricity, no money, and cultural differences. But this post is not really about the TV series. It is about the TV titles.


Image by kind permission of Alex Maclean of Rupert Ray

The tiles of the program have had me mesmerised. In fact, I was inspired to try and find out who had created them. The company behind the titles is Rupert Ray, and the particular designer is Alex Maclean. The full title sequence can be seen here.

So why do I like this title sequence so much? I have been thinking about this and have identified some of the reasons.

Firstly, the style is so evocative of the story and the era in which it is set (1935). The strong, bold, and flat colours remind me of the railway and travel posters of the 1930s. I now know that these posters were part of Alex Maclean’s references for the titles. It was nice to know that my interpretation of the imagery matched with what he intended.

Secondly, the title sequence is full of character and storyline references, as well as contextual information about Corfu. There are lots of hidden details not necessarily observed at first sight. We see different activities from the story (such as Margo sunbathing and Leslie shooting), also items  or ‘props’ that we can identify (such as Larry’s typewriter and the pink bicycle). There is so much character and personality in the people we meet in the titles. And as the TV series progressed I was able to see and understand more items that I had previously missed.

Finally, it was the overall flow of the titles. Rather than being a series of more static images, the ‘scenes ‘ flowed into each other with a lovely sense of almost being on the journey with the Durrells. It was an amalgamation of different events. Not necessarily correct in terms of storyline timescales, but really effective at creating the feel and the ambience of the program. While some scenes were very literal (the sunbathing) many were combinations of different events or character traits. And I especially loved Roger the dog bouncing through them.

To find out more about the ideas behind these titles, you can see some of Alex Maclean’s developmental work here, and also visit his development board on Pinterest.

Why has this TV title sequence been important to me as a designer?


As part of the Make Art That Sells course there was a brief to illustrate a children’s book. I struggled with this and am not happy with the work I produced. But I did not really know why. Analysing these TV titles has helped me to understand why. I focused on one scene from the story, I was too literal in my interpretation. I did not pay enough attention to creating the whole context and feel of the story, putting in all the little extras that would help to create the overall atmosphere and visual interest. My focus was on creating the characters, and I am pleased with what I did there. But now I start to realise that the visual characters are only the start. They need a context rich world to inhabit and to make them ‘come alive’. Yes, Lilla told us that, but it took Alex Maclean’s work to help me realise and understand it. Thank you Alex.



Rainy days

This week has been busy catching up with various projects, and preparing to take part in Lilla Roger’s Make Art That Sells course later this month. It has also been a wet and cold week. But the rain has made it a great week for using my lovely Missoni umbrella – a bargain last year from TK Maxx. Missoni is, and has been for a long time, one of my favourite design houses. And even in the rain, there is still some brightness.


Saturday Spectrum: Red

“It’s RED Week.
That’s Red.
Not Cadmium Red, Cherry Red, or Tomato Red.

As Crayola decrees it.”

These were the guidelines from Anne on the Tag Gallery blog. It is more difficult than it sounds to find this red. But my first thought with red was of the leaves and berries we are seeing here now that Autumn has started.

A design based on this colour is still in progress (life happens) so here are some photos from when Piran the studio dog joined me in hunting ‘Red’.




Saturday Spectrum: Sea Green

sf-stripes-collectionI recently came across the ‘Saturday Spectrum’ challenge organised by Anne Bray. This challenge is based around the different colours of Crayola crayons. This week’s challenge was the colour Sea Green. Details can be found here.

sf-stripes-2To me, sea green is a much darker blue-green than this crayon. This paler colour reminded me more of the foam on the waves – hence the name of the collection.

sf-stripes-1The designs themselves are based on some ideas I explored several years ago. But I was never quite happy with the original designs, particularly the colour palette. So I took this opportunity to revise and recolour some of the work, also playing with the scale and converting them from Photoshop files to vector-based Illustrator files.


The designs all feature (in one way or another) stripes in the sea green crayon colour.


Thank you Anne for the opportunity to participate in this challenge!